26/12/2022
I o t d. Preludes op. 13 (C-dur, G-dur); op. 31 (es-moll, Des-dur); "Inspired by the Oema" op. 51; Prelude op. 48 (C-dur); A Nocturne Poem op. 61; Prelude Op. 49, No. 2; Two Mazurkas Op. 40 (Des-dur, Fis-dur). II o t d . Tenth sonata. III otd. Poem op. 59, № 1 ; "Mask" op. 63; "Leaf from the album" op. 58; "Gloomy Flame" op. 73; prelude op. 67, №1; "Riddle" op. 52; "Desire" and "Weasel in dance" op. 57; "The Satanic Poem" op. 36. In the program of the concert on February 16, published in the "RMG" (1915, No. 5" p. 120), there is a very interesting discrepancy. One can think that Scriabin before the concert changed the program he had previously compiled (and published "RMG"): preludes of op. 13, No. 1 and 3 (C-dur, G-dur); preludes op. 31, No. 3 and 1 (es-moll, Des-dur); etude op. 56, No. 4; "Nuances" op. 56, № 3; mazurka op. 40, № 1 (Des-dur); prelude op. 49, № 2; "Poem-nocturne" op. 61; mazurka op. 25, № 6 (Fis-dur). In addition to these two concerts, Scriabin gave in Petrograd the last concert in his life on April 2, 1915 (HMS, inv. No. 1096): I Otd. Preludes op. 35 (Des-dur, B-dur(), op. 37 (b-moll, Fis-dur, H-dur, g-moll), op. 39 (G-dur); mazurka op. 25 (E -dur); etude op. 8 (b-moll); waltz op. 38 (As-dur). II o t d. Third sonata. Ill o t d. "Nuances" op. 56; "Dance of 'Languishing' op. 51; two preludes op. 74. Nos. 4 and 1; "Garlands" and "Gloomy Flames" op. 73; prelude op. 74, no. 2; "Strangeness" op. 63; Fourth Sonata. A. V. Ossovsky wrote: "Scriabin gave two piano evenings in St. Petersburg, which were such an exceptional success that he had to come to St. Petersburg for the second time for an additional concert, which took place on April 2/15, 1915 and turned out to be the last in Scriabin's life. Deeply etched in the memory of the impressions of these concerts: at them Alexander Nikolaevich played with extraordinary inspiration and pe*******on" November 22, 1914 Scriabin played in Moscow in a concert organized by the Central Bureau at the Moscow University for Assistance to Families of Substitutes and Victims of War. Concert Program (HMS, inv. No. 1465): I o t. Etude op. 2 (cis-moll); impromptu op. 10 (A-dur); prelude op. 15 (cis-moll, cis-moll, E-dur); mazurki op. 25 (e-moll, fismoll); "Fragility" op. 51; "Like a waltz" op. 47; "Leaf from the album" op. 45; etude op. 42 (cis-moll). P o t d . Seventh Sonata. III o t d . Two poems op. 69; prelude op. 74, №2; "Strangeness" op. 63; two poems op. 32; Ninth Sonata. A reviewer of the newspaper Russkie Vedomosti (1914, No. 270, p. 6) noted that the reaction of the public to Scriabin's performance of his works is "ordinary": the higher the serial number of the opus, the colder the reception of the work by the audience; on January 27, 1915, Scriabin gave a concert in Moscow, half of the pure collection of which went to the benefit of the Red Cross detachment, organized by M. K. Trubetskoy and sent to Serbia. Program of the concert (GMS, inv. No. 1464): I o t. Prelude op. 13 (C-dur, G-dur), op. 31 (es-moll, Des-dur); "Inspired Poem" op. 51, No. 3; Preludes op. 48 (C-dur), op. 39 (As-dur); "Poem-nocturne" op. 61; prelude op. 49 (F-dur); Mazurka op. 40 (Des-dur), op. 25 (Fis-dur). II o t d . Fourth sonata. Ill otd. Poem op. 59, № 1; "Mask" op. 63; "Leaf from the Album" op. 58; "Gloomy Flame" op. 73 (first time); prelude op. 74, № 2; "Riddle" op. 52; "Desire" and "Weasel in dance" op. 57; "The Satanic Poem" op. 36. In the composer's archive there is an autograph of the draft program of this concert (GMS, inv. No. 6) with interesting discrepancies. In the first part, after the preludes op. op. 13 and 31, the composer includes in the program, without indicating opuses: "Etude, Prelude, Mazurka, Prelude", and the last number indicates only one mazurka op. 25, Fis-dur; in the program of the third department there is no "Riddle" op. 52. G. P. Prokofiev wrote in the review: "The second concert of A. N. Scriabin was held (January 27) with great success and, as always, despite the unacceptability of much, left the impression of something captivating. This captivating "something" is made up of a mass of elements, among which one of the main places is occupied by the charm of Scriabin's performance. To someone who is tempted by the richness of piano sound capabilities, Scriabin's playing seems monochromatic in its island, ringing mezzo piano. Scriabin does not give massive sonorities under Scriabin's fingers, this is true, but in itself the Scriabin sonority is charming. And, most importantly, this sonority is amazingly suitable for Scriabin's writing, for Scriabin's moods. And here Scriabin has an amazing secret: these ethereal sounds have the ability not to spray at all in the hall. To this, do not forget to add that Scriabin is a magician of pedaling, that he has achieved extraordinary results in this area. Further, the composition of what Scriabin captivates the audience with includes as the most important element the shade of unchanging improvisation in his performance. Breaking the shackles of a strict rhythm, Scriabin creates his rhythm every time in a new way, and from this his performance receives an aroma of special freshness. Alas, this time I have to deny myself the pleasure of agreeing to your kind offer to perform in your young concerts The fact is that I have long promised one person2 two concerts in Petrograd for a fairly high guaranteed amount to me and just did not have confirmation. Now it turned out that these concerts will take place, and this makes my performance with you in all respects unfeasible.
