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黑色彌撒(史克里亞賓:第九號鋼琴奏鳴曲-黑色彌撒/李斯特:第2號悲傷的船歌/睡不著！問與答)
賽莉蔓.杜第 鋼琴
Some works seem to echo one another, resounding across eras with a quasi-mystical correspondence that invites us into a strange voyage. Gathering ‘the last Liszt' and ‘the last Scriabin' on the same album struck me as obvious. To me, they both have a marvellously indescribable capacity to allow listeners to hear mystery, to create unique soundscapes, to explore ever further and farther, always to innovate and to extend the limits of a certain ending. Both question the conventions of harmonic language with drawn out chromaticism – one that goes almost to excess, inching close to its own demise – and the obfuscation of tonality, as well as Scriabin's famous invention, the ‘mystic chord,' which haunts most of his last works. We can therefore lose ourselves in exploration outside all form, skirting all rules, and necessarily giving ourselves over to the almost hypnotic sensation of getting lost in this extreme.
1 Liszt Lugubre Gondola n°2, S.200 08:38
2 Scriabine Poeme n°1, op. 71 02:18
3 Scriabine Poeme n°2, op. 71 02:35
4 Liszt Nuages gris, S.199 03:01
5 Scriabine Sonate n°9 « Messe noire », op. 68 09:26
6 Liszt Schlaflos ! Frage und Antwort S.203 03:00
7 Scriabine Poeme-nocturne, op. 61 09:11
8 Liszt La Notte, S.112 10:16
9 Scriabine Cinq Preludes, op. 74 01:36
10 Scriabine Cinq Preludes, op. 74 01:45
11 Scriabine Cinq Preludes, op. 74 45
12 Scriabine Cinq Preludes, op. 74 01:52
13 Scriabine Cinq Preludes, op. 74 58
14 Liszt Bagatelle, sans tonalite S.216a 02:52
15 Scriabine Vers la flamme, op. 72 06:15 |
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