Symphony No.3 "The Divine Poem" [Two Pianos Transcription] - Alexander Scriabin

Performed by Ilona Prunyi and Sandor Falvai. Arrangement by Lev Konyus

I - Lento. Divin et grandiose - (attacca): 0:00
II - Luttes. Allegro. Mystérieux et tragique - Triomphant - Voilé - Opressé - Tragique, romantique et légendaire : 0:51
III - Voluptés. Lento et sublime - Voluptueux - Suave et languide - Sensuel, passionné et caressant - Divin essor - (attacca): 19:45
IV - Jeu Divin. Allegro. Avec une joie éclatante - Halelant et ailé - Doux et limpide - Précipité - Divin et lumineux, de plus en plus éclatant: 29:03

Scriabin's third symphony was written between 1902 and 1904, in Switzerland. It was premiered in Paris on May 29, 1905, directed by Nikisch. The presentation in Russia took place in St. Petersburg on March 8, 1906 with the orchestra led by Felix Blumenfeld. Scriabin was increasingly influenced by Nietzsche and Madame Blavatsky and theosophy.

As a symphony, it breaks away entirely from the traditional organization. Instead there are three movements, extravagantly scored and of considerable length. The work opens with a Prologue that in sixteen bars includes three leading motifs, Divine Grandeur, Summons to Man and Fear to approach, suggesting Flight. The Allegro, Struggles, presents the conflict between Man-God and Slave-Man in a sonata form movement in which these contrary elements win their way to freedom as the spirit soars.

The slow movement, Delights or Sensual Pleasures, has a subject related to the second subject of the first movement, intensifying in passion moving towards a motif suggesting Divine Aspiration. The first subject of the last movement, Divine Play or Divine Activities, includes an element of the opening of the work and there is a second subject marked avec ravissement et transport, the so-called Ego theme. The detailed directions on the original score make the symbolism of the work clear, but it is possible, as always, to hear The Divine Poem as pure music.

The four-hand piano arrangement by Lev Konyus was made while Scriabin's long-suffering wife busied herself with copying the score. The transcription became a matter of concern to Scriabin in 1906 when he needed copies of it and of the full score to show to conductors in Holland and Belgium, only to learn that the work on which Konyus had spent five months had apparently been lost in the post between Russia and the publishers in Leipzig. The transcription, however, exists and has evoked considerable admiration. It also provided the young Prokofiev in 1909 with a source of interest, as he played through it without the help of a second pianist.

Picture: Photograph of Alexander Scriabin.

Source: https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.555327&catNum=555327&filetype=About%20this%20Recording&language=English#

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