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CHAPTER 1 the PIANO MINIATURE in a Period (And Country) Where Pianism Was So Virtuosic, Why Start a Study with the Piano Miniatu

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CHAPTER 1 the PIANO MINIATURE in a Period (And Country) Where Pianism Was So Virtuosic, Why Start a Study with the Piano Miniatu Page 3 CHAPTER 1 THE PIANO MINIATURE In a period (and country) where pianism was so virtuosic, why start a study with the piano miniature, a form where this virtuosity is hardly displayed? What the miniature does display, on a very personal scale, is the philosophy of the music — the reason why the composer wrote music and how he used musical rhetoric to achieve his purpose. A variety of approaches is revealed in the works studied in this chapter, which includes miniatures by Scriabin, Rachmaninoff, Liadoff, Sorokin, and Shostakovich. This chapter will undertake an elementary study of the most important aspects of each composer’s style in relation to performance practice. This will provide an insight into how to best convey the composer’s overall ‘message’. SCRIABIN: Poèmes (op.32), Scherzo (op.46), Rêverie (op.49) Scriabin’s conscious desire to promote his philosophy through his music is quite clear. He wrote: I can’t understand how to write just music now. How boring! Music, surely, takes on idea and significance when it is linked to a single plan within a whole view of the world. People who just write music are like performers who just play an instrument. They become valuable only when they connect with a general idea. The purpose of music is revelation. What a powerful way of knowing it is!11 The extent of the ‘mysticism’ in his music increased in age, but the beginnings of it date back to his time as a student at the Moscow Conservatory. At this stage, Scriabin was already trying to create another, more ideal universe. In the words of a song written for his love of the time, Natalya Sekerina, Scriabin speaks of how “by the power of the mind he can enter her soul, and that this idea of ‘creativity’ will reveal to her a ‘universe of delight.’”12 His philosophy is further shown in a letter written to Natalya in 1893: The star is so beautiful, and I so love my star that if I cannot gaze on it, if it cannot shine down on me in my life, and if I cannot fly to it, then thought perishes, and with it everything else. Better that I disappear in a mad flight toward her. So the idea will remain and that will triumph.13 This is representative of Scriabin’s mindset — Faubion Bowers describes that “the trick 11 Alexander Scriabin. Cited in: Faubion Bowers, The New Scriabin: Enigma and Answers (New York, 1973), p.108. 12 Ibid., p.34. 13 Ibid. Page 4 of Scriabin’s mind was to convert life’s eternal tragedy into personal inner bliss.”14 This theme of escapism is also shown in Scriabin’s post-Conservatory years, where he turned heavily to alcohol as a “‘course and physical’ imitation of a more sublime spiritual ecstasy”.15 Two works from this period that represent this kind of quasi-drunken spiritual ecstasy are the Poème, op.32 no.1, and the Rêverie, op.49. Both works also share an improvised feel which, according to Grigori Prokofiev (a critic for the Russian Musical Gazette) is a feature of Scriabin’s playing: ...the impression that lingers is one of ravishment. What makes Scriabin’s music ‘ravishing’ is simply the enchantment of his performance. The tone is marvellous, despite a continuous sharpness, even clanging mezzo piano, but he achieves extraordinary effects. Don’t forget he’s a wizard with the pedal, though his ethereal sounds cannot quite fill the hall. He captivates his audience, too, by giving the impression of improvising. He breaks the rhythmic flow and something new comes out each time. This suffuses the performance with freshness.16 This freshness is displayed in Scriabin’s recording of the first of the Op.32 Poèmes. One of the most striking features of this recording is its extensive use of rubato, which, as Prokofiev suggests, does break the rhythmic flow, but on the other hand creates a totally new effect. Scriabin stated that a composition must be many faceted … alive and breathes on its own. It is one thing today, another tomorrow, like the sea. How awful it would be if the sea were the same every day.17 This, in many respects, gives the performers licence to use their own degree of flexibility — as Scriabin expressed, the art of performance is “the art of experience”.18 The need for spontaneity One of the challenges of performing the opus 32 no.1 Poème is creating the spontaneity — making sure that any repetitions (or apparent repetitions) never appear the same. This can be achieved by highlighting the harmonic colours, while still maintaining an overall sense of melodic shape. Scriabin’s performance, as did mine (though in a different way), shows that rubato is one way to achieve this. Figure 1 provides a comparison of tempo fluctuations in the two interpretations. 14 Ibid. 15 Ibid., p.35-6. 16 Grigori Prokofiev. Cited in: ibid., p.197. 17 Scriabin. Cited in: ibid., p.198. 18 Ibid. Page 5 Figure 1: Scriabin – Poème, op.32 no.1, bars 1-5 starts quite slowly SCRIABIN’S c. = 92 and basically PERFORMANCE: e in tempo MY PERFORMANCE: draws focus to SCRIABIN’S slightly faster tempo (c. = 116) almost back to C# in ‘tenor’ (Scriabin actually plays C# ea s faster tempo PERFORMANCE: semiquaver, which further reinforces the effect of the return to quicker tempo) MY PERFORMANCE: SLOWER TEMPO considerable rit KEY: pulling back of tempo slight expansion of tempo a ‘point of focus’ in the music pushing forward slight forward movement In many ways, however, it is contradictory to graph these two interpretations because it goes against the very concept of Scriabin’s performance — that it should be spontaneous. On the other hand, it reveals just how flexible the performer must be to create a performance based around the ‘experience’ of the music, rather than just the notes. Interestingly, neither Scriabin nor myself consistently reach Scriabin’s original metronome marking of . = 50 — we both tend to hover slightly under this, though q exceed it on occasion. Scriabin’s ‘diversions’ from his own score are quite common — Yavorsky stated that Scriabin always plays more or less as he has written his pieces. On occasions he plays them entirely differently ... and opposite the way they are marked ... More important is that when he changes them, it is always for the best.19 19 Yavorsky. Cited in: ibid., p.198. Page 6 In both performances, the main effect of the tempo fluctuations is that the harmonic colours are highlighted. This is particularly the case at the very opening, where Scriabin characteristically opens with obscure harmony (not even remotely related to the F# major tonality of the work) and doesn’t really ‘cadence’ until bar 4 (in a kind of V-I progression, though this is averted by the D# present in the right hand). Both of our performances heighten this effect by pulling back the tempo at the very opening. This, in effect, suspends the harmony: not really creating a need for resolution, but rather just “enjoying the sound”. This also helps draw attention to the inner voices occurring in the first bar: the B-sharp to B-natural. My performance aims at projecting the continuation of this ‘tenor’ line (right through the bar, and further on), and also to slightly push the tempo forward to increase its direction (and help further support the predominant ‘soprano’ line). Scriabin’s performance, on the other hand, pushes quite quickly through the three ‘tenor’ notes (A#-Fx-G#), implying that this line is not as important. This does have the advantage of compensating for his overall slower tempo, thus creating drive to push the melody forward into the new harmony. The variances in tempo also display (to a degree) the overall melodic shape in the performance. For example, in bars 4-5, Scriabin treats the C# to D# as being in the same, faster tempo — making this even more defined by playing the C# as a semiquaver. This essentially makes these two notes a new ‘idea’ — they possess a slightly more hopeful character in contrast to the preceding wallowing line. In my interpretation, on the other hand, I aim to keep the C#-D# as part of the preceding melodic line. This is achieved by drawing back the tempo until the D#. The result is that the ideas ‘fuse’ together rather than contrast. A similar spontaneous approach is required in the Rêverie (opus 49). The work is quite short (one page), and extremely economical in thematic material (in an A-B-A-B- A form, with each section being almost the same each time). But this is representative of Scriabin’s philosophy: “I want the maximum expression with the minimum means.”20 Scriabin also has few expressive indications on the score. Imaginative interpretation is therefore largely in the hands of the performer. This aligns with Scriabin’s philosophy of spontaneity in performance: the performer is not bound to play the piece in any way, and is also not bound to play it the same way each time — the ‘experience’ of playing it is what is most important. 20 Scriabin. Cited in ibid., p.54. Page 7 As with the Poème, it is important to constantly experiment with different tone colours. The work (which, interestingly, only as piano markings) never really gets ‘loud’ in effect — there can be variances in dynamics, but subtleties in tone colours within a piano sound are the most effective means of maintaining interest. The first section is shown in Figure 2: Figure 2: Scriabin – Rêverie, op.49, bars 1-8 This section occurs three times, and the performer can create differences each time to keep the music interesting.
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