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Violina Petrychenko Scrjabin Kosenko

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Violina Petrychenko Scrjabin Kosenko SLAVIC NOBILITY Violina Petrychenko, Piano Alexander Skrjabin (1872 –1915) IMPRESSUM 2 Poèmes op. 32 (1903) Produzent: 1 An dan te can ta bi le | 3 : 13 Annette Schumacher 2 Al le gro, con ele gan zia, con fi du cia | 1 : 47 Tonmeister: Manfred Schumacher SCRJABIN Viktor Kosenko (1896 –1938) Aufnahme: 7.–9.4.2014, 2 Poemen Legenden op. 12 (1921) Immanuelskirche Wuppertal KOSENKO 3 Con afflizione | 1 : 50 * Layout: 4 Dramatico | 4 : 45 Annette Schumacher Fotos: Alexander Skrjabin Mischa Blank 3 Mazurken op. 3 (1888-1890) Text: 5 Mazurka in B minor: Tempo giusto | 3 : 55 Violina Petrychenko 6 Mazurka in G minor: Allegretto | 1 : 30 (Deutsch, Russisch) 7 Mazurka in D sharp minor: Doloroso | 4 : 03 Oliver Motz (Englisch, Deutsch) Viktor Kosenko ൿ 2014 3 Mazurken op. 3 (1916-1923) 8 Mazurka in F sharp minor: Modera*to | 2 : 27 9 Mazurka in D flat major: Quasi Allegretto | 1 : 44 10 Mazurka in C sharp minor: Lento ma non troppo | 2 : 25 Alexander Skrjabin Klaviersonate Nr. 2 gis-moll op. 19, „Sonate fantasie“ (1897) WORLD VIOLINA PETRYCHENKO 11 Andante | 7 : 58 * PREMIERE 12 Presto | 4 : 35 RECORDING Viktor Kosenko Klaviersonate nr. 2 cis-moll op.14 (1924) PIANO WORKS 13 Andante con moto – Allegro agitato | 9 : 17 * 14 Moderato assai espressivo | 5 : 24 HYBRID 15 Allegro vivo | 5 : 39 MULTICHANNEL plays on SACD, CD & DVD player Alexander Skrjabin (1872 –1915) 2 Poèmes op. 32 (1903) 1 Andante cantabile | 3 : 13 2 Allegro, con eleganzia, con fiducia | 1 : 47 Viktor Kosenko (1896 –1938) 2 Poemen Legenden op. 12 (1921) 3 Con afflizione | 1 : 50 * 4 Dramatico | 4 : 45 Alexander Skrjabin 3 Mazurken op. 3 (1888-1890) SLAVIC 5 Mazurka in B minor: Tempo giusto | 3 : 55 6 Mazurka in G minor: Allegretto | 1 : 30 VIOLINA PETRYCHENKO 7 Mazurka in D sharp minor: Doloroso | 4 : 03 2 Viktor Kosenko 3 NOBILITY 3 Mazurken op. 3 (1916-1923) 8 Mazurka in F sharp minor: Modera*to | 2 : 27 9 Mazurka in D flat major: Quasi Allegretto | 1 : 44 10 Mazurka in C sharp minor: Lento ma non troppo | 2 : 25 Alexander Skrjabin Klaviersonate Nr. 2 gis-moll op. 19, „Sonate fantasie“ (1897) 11 Andante | 7 : 58 12 Presto | 4 : 35 Viktor Kosenko Klaviersonate nr. 2 cis-moll op.14 (1924) 13 Andante con moto – Allegro agitato | 9 : 17 * Wir bedanken uns beim Steinway-Haus Düsseldorf für die freundliche Unterstützung. WORLD 14 Moderato assai espressivo | 5 : 24 * PREMIERE Many thanks to Steinway-Haus Düsseldorf for the generous support. 15 Allegro vivo | 5 : 39 RECORDING ALEXANDER SKRJABIN & VIKTOR KOSENKO Einander gleich und doch verschieden. Zwei vielseitige und energische Musiker, die in einer schwierigen Epoche und einer schwierigen Wirklichkeit ihre ganz eigenen musikalischen Welten schufen. Skrjabin wurde in Moskau geboren, Kosenko in St. Petersburg. Als Sprosse aus russischem Adel kamen sie in den Genuss guter Bildung und zeigten schon in der Kindheit eine auffallende musikalische Begabung. Einer Familientradition folgend besuch - ten beide die Kadettenschule; doch keiner von ihnen fand in sich die Neigung, die Soldatenlaufbahn einzuschlagen. Es war die Musik, die beide unaufhaltsam anzog. Bei aller Verschiedenheit von Zeit und Lebensumständen hatten sie doch vieles gemeinsam: der Besuch von Konzerten bekannter Musiker, erste eigene Werke und die Begeisterung für die gleichen Vorbilder. Skrjabins Vorbild war Chopin. Kosenkos Vorbilder waren Chopin und Skrjabin. Mitunter zeigt schon eine bloße Gegenüberstellung von Daten, Zahlen und Genres im Schaffen dieser beiden Meister eine Reihe frappierender Übereinstimmungen. Bei Kosenkos Geburt 1896 beeindruckte der junge Skrjabin seine Zeitgenossen bereits mit zahlreichen 4 Klavierminiaturen, als in Paris seine Klaviersonate № 2 erklang. Eines der ersten Werke im Schaffen von Skrjabin und Kosenko (jeweils op. 3) weist Züge der Mazurka auf. Die Mazurken dieser beiden Komponisten sind nicht länger »unter Blumen eingesenkte Kanonen«, wie R. Schumann die Werke Chopins noch genannt hatte. Ihre Musik, die sich auf die Ästhetik der Silbernen Zeitalters beruft, ist vielmehr ein kunst - volles Schattenspiel der Sehnsucht nach einem enteilenden Traum, das Streben, den »Nachhall einer vergessenen Hymne« auf die Schönheit und eine poetische Weltsicht zu bewahren. Beide waren hervorragende Pianisten. Dabei glänzten sie besonders bei der Interpretation eigener Werke, die sie mit unvergleichlichem individuellen Stil vortrugen. Beider Lebensgefühl war poetisch. Ein schwärmerisches Schweben über der Realität, das kurze, gefühlssatte Augenblicke poetisch auflud; mitunter von fragiler Feinheit, dann WWW.VIOLINA-PETRYCHENKO.DE wieder von jauchzender Extase quer durch die Partitur. Skrjabin gilt als Erfinder des Klavierpoems in der russischen Musik. Kosenko trug sein Erbe in die ukrainische Kultur. Es lohnt sich an dieser Stelle, auf einige Unterschiede im Leben und Schaffen beider Meister, die eine Aura wahrer Schaffenskraft umgibt.“ Selbst in der Zeit des Holodomor, als Musiker hinzuweisen: Skrjabin fand zu Beginn seiner Karriere Unterstützung bei zahl- der Hunger das Land erdrückte, wurde Kosenko nicht müde, auf Konzerten Sonaten, reichen berühmten Musikern. Er erlangte schon früh Berühmtheit und gab Konzerte in Etüdenzyklen, Gedichte und Perlen der Vokallyrik vorzutragen. 1938 starb er in Kiew; er Russland und anderen Ländern, schrieb in Versen und Prosa über die innovativen Ideen hinterließ eine Vielzahl unvollendeter Werke. seiner Musik und gewann zahlreiche begehrte Preise. Die Konzertsäle Englands, Italiens, Frankreichs und der Schweiz standen ihm offen. Sein plötzlicher Tod 1915 setzte diesem Die Begeisterung für Traumwelten, die Ergründung der Geheimnisse und Tiefen von kreativen Höhenflug ein jähes Ende. 1914 trat Kosenko in das Konservatorium von St. Peters- Mensch und Kunst, der Glaube an die Wirkmacht des schaffenden Musikers zur Umge- burg ein. Er absolvierte sein Studium während des Ersten Weltkriegs und der Oktoberrevo- staltung des Lebens und die innig zu Herzen gehende Poesie von Instrumentalminiaturen lution, so dass seine professionellen Anfänge in eine Zeit der Zerstörung und Entbehrung – all dies macht das Wesen der Werke von Skrjabin und Kosenko aus, schafft Nähe und fielen. Ab 1918 wirkte er in der ukrainischen Kleinstadt Schitomir. Hier gründete er ein Trio Verständnis auch beim modernen Hörer. und bereiste die umliegenden Dörfer und Städte – auf einem Fuhrwerk über Feldwege. Das Violina Petrychenko Publikum vor dem er spielte war ein anderes als das in europäischen Konzertsälen. Die Zuhörer waren vorwiegend „einfache“ Leute. Er brachte ihnen mit seiner Musik trotzdem Träume, Liebe, Stille und Harmonie und kündete von der Schönheit und Größe des mensch - ALEXANDER SKRJABIN & VIKTOR KOSENKO lichen Geistes. Similar yet different, Scriabin and Kosenko were two versatile and strongminded men living complex lives in a complex reality, where each created his own world of music. 6 Mit mattem Herz und bang erstarrtem Blick Scriabin was born in Moscow, Kosenko in St. Petersburg. As Russian noblemen, they received 7 Vorauszuahnen nahendes Verhängnis a good education and already as children displayed musical talent. Following a family Für jenes Reich und dieses Weltgefängnis tradition, they both joined the cadet corps, but neither of them found himself disposed to War seines Lebens Leitstern und Geschick. a military career. It was music that irresistibly attracted them. Despite the fact that they lived in different times and places, they shared many common passions, from the perfor - Diese Zeilen Sewerjanins kann man auch auf das Schicksal Kosenkos beziehen: Ihm war es mances of renowned musicians and the autodidactic acquisition of piano masterpieces, to vorherbestimmt, mitanzusehen, wie die alte, gewohnte, beständige Welt in Trümmer fiel; their first steps in composition and enthusiasm for common idols Scriabin's idol was ein Verständnis zu gewinnen für die unberechenbaren Umstürze und tosenden Strudel der Chopin. Kosenko's idols were Chopin and Scriabin. neuen Epoche und zugleich den klassischen Idealen die Treue zu halten; seine adlige Herkunft ebenso zu vergessen wie den Gebrauch seiner Fremdsprachen, proletarische Here and there the mere comparison of dates, numbers and genres within the works of Literatur zu lesen… und fortgesetzt Poeme, Etüden, Mazurken, Sonaten zu produzieren – these two masters shows striking parallels. Kosenko was born in 1896, when the young er trug das Licht des untergehenden Sterns der Romantik. Dies alles erforderte Scriabin already impressed audiences with a great number of preludes as his piano sonata Beständigkeit im Leben, Talent und Zivilcourage. Die letzen 10 Jahre seines Lebens wirkte № 2 was performed in Paris. Kosenko in Kiew. Als Professor am Konservatorium besorgte er die Ausbildung zahlreicher talentierter Pianisten und legte das Fundament für eine Weiterentwicklung der ukrai- The genre of mazurka can be felt in opus 3 of both composers. Their mazurkas are no nischen Musikkultur. Sein Zeitgenosse Leo Rewuzkij sagte: „Viktor Kosenko ist einer jener longer of the same kind as Chopin's “cannons buried in flowers”, as R. Schumann called them. Their music, influenced by the aesthetics of the Silver Age, was a shadow play long- études, mazurkas, sonatas, bearing the light of the setting star of romanticism. For all of ing for an elusive dream in its strife to preserve and revive a forgotten, yet reverberant this it took him tenacity in life, talent and moral courage. Kosenko spent the last 10 years hymn to beauty and an aesthetic view of the world. Both of them were outstanding of his
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