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SCRIABIN: Late Piano Works
Sonatas No. 7 "White Mass", No. 9 "Black Mass" and No. 10;
Trois Etudes, Op. 65; Deux Préludes, Op. 67; Deux Poèmes, Op. 69;
Poème Op. 72 "Vers la Flamme"
Yuri Paterson-Olenich
Recorded in August 1999 | Time 63:59 | Cover Painting by Dr. Alan Criddle
Sonatas No. 7 "White Mass", No. 9 "Black Mass" and No. 10;
Trois Etudes, Op. 65; Deux Préludes, Op. 67; Deux Poèmes, Op. 69;
Poème Op. 72 "Vers la Flamme"
Yuri Paterson-Olenich
Recorded in August 1999 | Time 63:59 | Cover Painting by Dr. Alan Criddle
From the liner notes:
What is immediately striking about the late works is the tonal variance of mood between them. This duality is reflected in the selection of works on this disc, where there are sombre, more sinister works such as the Ninth Sonata, the light and airy Poèmes Op. 69, and the sublimely ethereal Tenth Sonata.—YPO
What is immediately striking about the late works is the tonal variance of mood between them. This duality is reflected in the selection of works on this disc, where there are sombre, more sinister works such as the Ninth Sonata, the light and airy Poèmes Op. 69, and the sublimely ethereal Tenth Sonata.—YPO
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Jonathan Powell, International Piano Quarterly September/October 2001
The sleeve note accompanying this disc proclaims that the Prometheus company strives ‘to resurrect a seemingly lost art — real performances recorded in real time’. When I heard Yuri Paterson-Olenich play in Moscow last summer, I was immediately impressed by his ability to conjure from the piano the fantastical, the aerial, as well as the apocalyptic and some would say demonic aspects of Scriabin’s music.
The intensity with which Paterson-Olenich conveys Scriabin’s vision is, on several of the tracks, unrivalled in recent recordings. Looming large throughout is the spirit of Sofronitsky, an important formative influence on the pianism of Paterson-Olenich’s most recent teacher, Vladimir Tropp, who once conveyed to me some of his still vivid impressions of the late master. Every pianist would admit that with every live recording there are moments in which the tone, pedalling or matters of sheer accuracy could be improved on. But when one thinks of how many internationally-acclaimed recording artists would not contemplate releasing a truly live recording (Grigory Sokolov stands almost alone in completely rejecting edited studio performances), one may begin to realise the merit of this particular disc. Several performances really stand out; I was impressed by the austerity and poise of the Prelude, op.67 No.1, the brilliance and range of colour employed in the Op.65 Studies and Vers la flamme, the dark intensity of the Ninth Sonata. This disc is a testament to Paterson-Olenich’s affinity with Scriabin’s late music.
Bryce Morrison, Gramophone August 2001
Reflecting on the ultra-refinement of Scriabin's late works, Stravinsky once asked, "Scriabin, where does he come from and who are his followers?" Yuri Paterson-Olenich, a young London-based pianist has few doubts and his recital, with its opposing elements of dark and light, of Black and White Mass Sonatas (No.s 9 and 7) is given with rare sensitivity and commitment. And while there has been no lack of fine Scriabin recordings in recent months Paterson-Olenich's exclusive concern with late rather than early or middle period compositions places his disc in a special category. Time and again he allows one to savour every aspect of Scriabin’s neurotic sensibility ("he fidgeted, fretted, fussed…and along with Rachmaninov had a horror of cockroaches") playing with spaciousness and lucidity, never whirled into obscure agitation by the composer’s idiosyncratic directions (orageux, avec une céleste volupté, trés pur, avec une profonde douceur and mystériuesement sonore, all on a single page of Sonata No. 7) Vers la flamme is menacingly controlled before the final conflagration, the stream of chromatic ninths in the first of Op. 65 Etudes is always musically directed rather than made an excuse for obvious flamboyant virtuosity. Paterson-Olenich has contributed his own lively and informed essay, and the recordings (the first by a recently formed company intent on establishing only the finest musical values) are excellent. An exceptional, very personal issue.
Andrew Clarke, Independent 9th Sept 2000
The first recording from this new label brings a powerfully expressive recital of Scriabin's most searching works, including the "White" and "Black" Masses, Piano Sonata No.10 and Vers la flamme. The young Brighton-born pianist tackles them all with astonishing assurance: a most auspicious début.
Adrian Jack, BBC Music Magazine December 2000
Brighton-born, Moscow-trained Yuri Paterson-Olenich shows real understanding of Scriabin's visionary music, including one of the weirdest sonatas, the Seventh. What he lacks in sheer volume he makes up for in poetic dreaminess, though textures are always clear.
David Denton, Yorkshire Post 25th October 2000
Paterson-Olenich, born in Brighton in 1974, is a Russian-trained pianist who makes light of Scriabin’s fiendishly difficult scores. He does not quite match those volcanic outbursts of the great Scriabin pianists, though he is superb in the delicate sonorities of the Poems.
Alain Cochard, Diapason
Paterson-Olenich shows a deep understanding of this music.
The sleeve note accompanying this disc proclaims that the Prometheus company strives ‘to resurrect a seemingly lost art — real performances recorded in real time’. When I heard Yuri Paterson-Olenich play in Moscow last summer, I was immediately impressed by his ability to conjure from the piano the fantastical, the aerial, as well as the apocalyptic and some would say demonic aspects of Scriabin’s music.
The intensity with which Paterson-Olenich conveys Scriabin’s vision is, on several of the tracks, unrivalled in recent recordings. Looming large throughout is the spirit of Sofronitsky, an important formative influence on the pianism of Paterson-Olenich’s most recent teacher, Vladimir Tropp, who once conveyed to me some of his still vivid impressions of the late master. Every pianist would admit that with every live recording there are moments in which the tone, pedalling or matters of sheer accuracy could be improved on. But when one thinks of how many internationally-acclaimed recording artists would not contemplate releasing a truly live recording (Grigory Sokolov stands almost alone in completely rejecting edited studio performances), one may begin to realise the merit of this particular disc. Several performances really stand out; I was impressed by the austerity and poise of the Prelude, op.67 No.1, the brilliance and range of colour employed in the Op.65 Studies and Vers la flamme, the dark intensity of the Ninth Sonata. This disc is a testament to Paterson-Olenich’s affinity with Scriabin’s late music.
Bryce Morrison, Gramophone August 2001
Reflecting on the ultra-refinement of Scriabin's late works, Stravinsky once asked, "Scriabin, where does he come from and who are his followers?" Yuri Paterson-Olenich, a young London-based pianist has few doubts and his recital, with its opposing elements of dark and light, of Black and White Mass Sonatas (No.s 9 and 7) is given with rare sensitivity and commitment. And while there has been no lack of fine Scriabin recordings in recent months Paterson-Olenich's exclusive concern with late rather than early or middle period compositions places his disc in a special category. Time and again he allows one to savour every aspect of Scriabin’s neurotic sensibility ("he fidgeted, fretted, fussed…and along with Rachmaninov had a horror of cockroaches") playing with spaciousness and lucidity, never whirled into obscure agitation by the composer’s idiosyncratic directions (orageux, avec une céleste volupté, trés pur, avec une profonde douceur and mystériuesement sonore, all on a single page of Sonata No. 7) Vers la flamme is menacingly controlled before the final conflagration, the stream of chromatic ninths in the first of Op. 65 Etudes is always musically directed rather than made an excuse for obvious flamboyant virtuosity. Paterson-Olenich has contributed his own lively and informed essay, and the recordings (the first by a recently formed company intent on establishing only the finest musical values) are excellent. An exceptional, very personal issue.
Andrew Clarke, Independent 9th Sept 2000
The first recording from this new label brings a powerfully expressive recital of Scriabin's most searching works, including the "White" and "Black" Masses, Piano Sonata No.10 and Vers la flamme. The young Brighton-born pianist tackles them all with astonishing assurance: a most auspicious début.
Adrian Jack, BBC Music Magazine December 2000
Brighton-born, Moscow-trained Yuri Paterson-Olenich shows real understanding of Scriabin's visionary music, including one of the weirdest sonatas, the Seventh. What he lacks in sheer volume he makes up for in poetic dreaminess, though textures are always clear.
David Denton, Yorkshire Post 25th October 2000
Paterson-Olenich, born in Brighton in 1974, is a Russian-trained pianist who makes light of Scriabin’s fiendishly difficult scores. He does not quite match those volcanic outbursts of the great Scriabin pianists, though he is superb in the delicate sonorities of the Poems.
Alain Cochard, Diapason
Paterson-Olenich shows a deep understanding of this music.
Paterson-Olenich, now settled in London, is regularly invited to take part in concert series, festivals and concerto appearances across Britain, Europe and the former USSR. He is a pianist who likes to maintain as wide a repertoire as possible, encompassing the mainstream repertory, more unusual works, and music by living composers. Being an admirer of the visual arts, he has a particular interest in repertoire inspired by visual elements.
Following the success of this CD, Yuri returned to the studio to record Rachmaninov's First Sonata and Etudes-Tableaux Op. 39, which were also released by Prometheus Editions (EDITION007).
Yuri Paterson-Olenich is currently represented by Kings Barn Artist Management.
