Scriabin’s Poem
of Ecstasy, a combination of symphony
(constructed in a broad sonata form)
and symphonic poem was premiered in
New York. It was influenced by Wagner’s
Tristan, and by his philosophical
and religious views (Nietzsche and theosophy).
Brass is prominent; in fact at more
than one point I was struck as a result
of Barenboim’s realisation by a pronounced
similarity of Scriabin’s writing to
that of Bernard Herrmann. This reissue
of Barenboim’s fiery 1986 recording
also has plenty of sensual languor.
His reading is nicely transparent and
clear; its innumerable climaxes well-paced
and contoured. But the difficulty, to
my mind, is the disconcerting trumpet
solo that has too much of that vibrato
quality, historically associated with
French orchestras. Taken all round,
there are attractive alternatives: Maazel
on Decca 417 252-2 that also includes
Scriabin’s Piano Concerto and Prometheus
and Stokowski with the New York Philharmonic
offers a tremendously energetic and
luminous performance on BBCL 4018-2.
Scriabin’s extraordinary
Symphony No. 3 (Le Divin Poème)
dates from 1903-04 and again is influenced
by his theosophical inclinations and
by Wagner and Richard Strauss. It is
cast in four movements: the first a
short Lento introduction lasts
just over a minute while the second
marked Luttes (‘Struggles’) proceeds
over 27 minutes. The third movement,
marked Voluptés (‘Pleasure’)
is followed by the finale, Jeux divin
(‘Divine Games’). This is a huge edifice
employing a huge orchestra. In Luttes,
Barenboim splendidly contrasts Scriabin’s
titanically explosive, often craggy
climaxes (wonderfully strident brass
– I have no reservations about vibrato
in this performance) with femininely-tender,
delicate and voluptuous music. Volupté
begins in quiet ecstasy with woodwinds
quietly meditating over passionately-rising
strings. Barenboim is very poetic in
this movement particularly in the passage
where the beautifully eloquent woodwinds
express their bird song against that
of the solo violin. The finale Jeux
divin begins lightly and more playfully
before the music swells to powerfully
climactic music of ecstatic vision.
Documentation is brief
and just adequate.
Big, beefy voluptuous
music. Barenboim’s Poème
has atmosphere and excitement but the
trumpet solo disappoints; his Le
Divin Poem is powerful, ardent and
delicate enough In a competitive field,
and for this coupling, the Russian National
Orchestra conducted by Pletnev on DG
459 681-2 would be my first choice.
Ian Lace
.
Orchestre de Paris/Daniel Barenboim 
