Scriabin, Fantasie in B minor, Op.28 (Marc-André Hamelin)
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Scriabin, Fantasie in B minor, Op.28 (Marc-André Hamelin)
2 050 просмотров · 6 дней назад
ScoreMan
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2 050 просмотров · 6 дней назад
A.Scriabin's Fantasie in B minor, Op.28, with with a theme-and-structure analysis and synchronized sheet music (score)
Performance: Marc-André Hamelin (piano), 1995/06, All Saints’ Church, East Finchley, London, England
Analysis, Score Editing, Synch: ScoreMan
OVERVIEW
Scriabin’s Fantasie in B minor, Op. 28 is a large, passionate work for solo piano that stands at an important point in his development.
Composed in a single continuous movement, it combines sweeping Romantic lyricism and formidable virtuosity with the increasingly adventurous harmony that would soon lead Scriabin toward his highly individual mature style.
HISTORICAL CONTEXT
Scriabin composed the Fantasie in 1900, between his Third and Fourth Piano Sonatas.
During this period, his music was beginning to move beyond the strong influence of Chopin toward a more personal harmonic and expressive language.
Although the Fantasie remained relatively neglected for many years, it is now recognized as one of his most substantial works from this transitional period.
MUSICAL CHARACTER
The work begins mysteriously, with an unsettled theme emerging from a dark B-minor atmosphere.
This gradually gives way to a broad and intensely lyrical second idea, one of the work’s most memorable melodies.
Scriabin continually transforms and combines these contrasting materials as the music grows in passion and complexity.
The piano writing becomes increasingly expansive, with dense chords, sweeping arpeggios, intricate inner voices, and powerful climaxes.
After an extended dramatic struggle, the music ultimately moves from B minor into a radiant B-major conclusion.
MUSICAL SIGNIFICANCE
Although called a Fantasie, the work is tightly constructed and shows clear connections with sonata form.
Scriabin combines this structural discipline with a feeling of spontaneous emotional development, allowing themes to evolve and return in dramatically transformed forms.
The result bridges the Romantic tradition of Chopin and Liszt with the more ecstatic and harmonically adventurous world of Scriabin’s later music.
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