Himself, Rach, Beethoven, Chopin... he probably liked other romantics as well but there isn't too much written on the subject. He was well known as a performer during his time as well, but according to Horowitz he was an incredibly nervous wreck during performances.
Don't fall for the contemporary meme. You won't find anything of value.
Lucas Lewis
Regardless, his nervous playing style probably helped the reception of his works. Scriabin kind of needs that sort've nerve-wrecking-bursting-at-the-seams aesthetic to it. When Rachmaninoff did a post-humous tour of Scriabin works in honor of his friend they were terribly received because Rach interpreted them poorly. Many critics said he could simply not compete with Scriabin's interpretive style of his own works. Which goes to show that technical ability is not all; Rach was lampshaded as being superior in that regard, and Lhevinne--Scriabin's other classmate--was the icon of so much of Scriabin's envy and the latter nearly ruined his right hand trying to emulate Lhevinne's playing style. A shame there are no Lhevinne recordings of Scriabin, as I believe he was an approved interpreter. Feinberg was another Scriabin-approved interpreter (no surprise since his compositions are highly influenced by Scriabin), but it's a shame his recording of the 5th sonata is in such bad quality. All that leaves is Horowitz and Sofronitsky for the closest recorded connections. Though Scriabin heard Horowitz play as a young man (and approved him as a good pianist) the latter said in interviews that his playing style was his entirely own. Sofronitsky never met nor heard Scriabin play, but he did marry his daughter and just about all accounts (from those who heard and knew the composer) regarding Sofronitsky say he might have the closest link towards Scriabin. It is somewhat logical, as Sofronitsky was a Nikolayev student and Nikolayev was a Taneyev student. Taneyev taught Scriabin so it is possible that Sofronitsky inherited the style. Horowitz and especially Richter revered him, and the latter two are great Scriabin players in their own right, so that's good enough for me. Tradition is certainly a mess though, especially when performance styles change so much from generation to generation.
Justin Allen
fuck off
Austin Murphy
Don't be a player:
>Scriabin arrived in New York in 1906, having abandoned his wife in Russia, and was soon joined by his mistress. But he discovered that his amorous wrongdoings would have career repercussions, as Mrs. Scriabin certainly had her revenge. From 1906 to 1909, Vasily Safonoff, her husband’s former piano teacher and a good friend of hers, conducted the New York Philharmonic. Safonoff took her side and banned Scriabin’s works during his tenure, thus curtailing the composer’s success in America.
Logan Perry
>Monteverdi >renaissance Better than the shit that's been produced in the romantic period
Owen Parker
scriabin is shit and so is chopin kill yourselves
Nathaniel Robinson
Oh by the way, astute memers will notice that Ashkenazy interpretation is conspicuously good. This is no accident. It's almost a 1:1 copy of Richter's interpretation, which is in terrible condition unfortunately. Like, inaudible bass notes and everything.
Isaac Green
The swampvengers are on point tonight.
Christopher Diaz
Such is life in many live recordings. Especially old ones. Many of them are mastered like shit.
Robert Diaz
stop talking
Wyatt Hernandez
Can we jig?
Lucas Edwards
Let's talk about the real king of piano compositions: Faure
>i am le rational saxon 19th century male >i am the intrepid explorer of the great aural wilderness >i have unironically heard god in more than one of my excursions >i am the alpha and the omega of music
