Evgeny zarafiants scriabin biography
- Evgeny Zarafiants .
- Evgeny Zarafiants was born in Novosibirsk in 1959, to a musical family.
- Evgeny Zarafiants was born in Novosibirsk in 1959, to a musical family.
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Scriabin Preludes, Volume 1
Brilliant, idiomatic performances of colour and depth to rival even the greatest Scriabin interpreters, and at super bargain price
View record and artist detailsAuthor: Bryce Morrison
I first heard Evgeny Zarafiants as a jury member of the 1993 Ivo Pogorelich Competition in Los Angeles, where he was awarded joint-second prize. Those of us who were present at that strange and unforgettable occasion have remained haunted over the intervening years by his exceptional artistry. So how gratifying to find that this Naxos album, volume 1 of what promises to be a complete cycle of the Scriabin Preludes, not only confirms that first and indelible impression, but takes us beyond into a world of the most searching and impeccable pianism and musicianship. Indeed, such a flawless and personal distillation of Scriabin’s style and idiom can make the wintry blast of, say, Andrei Gavrilov or even – dare I say it – the palpitating sense of neurosis of Horowitz in this composer, seem superficial by comparison.
Zarafiants’ tendency to opt for tempi slower than m
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CD Review
Alexander Scriabin
Préludes, Volume 1
- Prélude in B Major, Op. 2, #2
- Prélude in C Sharp minor, for left hand, Op. 9, #1
- Twenty-four Préludes, Op. 11
- Six Préludes, Op. 13
- Five Préludes, Op. 15
- Five Préludes, Op. 16
- Seven Préludes, Op. 17
Evgeny Zarafiants, piano
Naxos 8.553997 DDD 75:41
There are those who insist that Scriabin's music must be played with a mystical or ethereal approach, or with eldritch desperation, or at least with a sense for the futuristic. Certainly the composer was a visionary – rather an oddball visionary, at that – whose ideas on the confluence of the various art forms, as he envisioned in his unrealized Mysterium, were definitely advanced, if outlandish. But we must remember that his early compositions, which this Naxos issue addresses, were, if not conventional, at least not particularly revolutionary. Still, there are more than a few hints here of the composer's later, more experimental style.
Russian-born, Croatia-b
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