Three Special Scriabin music Recordings

Scriabin’s music is written in a way that invites a wide range of interpretative possibilities. Some pianists prefer to adhere closely to the score, following Scriabin’s directions with precision. Others, however, infuse their own personal touch into their performances, and it’s often this individual flair that makes their interpretations so captivating.

What fascinates me most is how Scriabin’s pieces seem to evolve through each pianist’s vision. A single work can feel completely different depending on who’s performing it—some might emphasize the mystical qualities, while others bring out its more turbulent emotions. This interpretative freedom is what keeps Scriabin’s music endlessly fascinating for me. Whether it’s a strict rendering or one filled with creative liberties, every performance reveals something new about the piece and the artist behind it.


  1. Vers la Flamme Op.72 (Scarpini)

he key to this recording is the tempo. At just 3 minutes, it’s likely the fastest rendition of the piece available. While faster doesn’t always mean better, in this case, the brisk tempo adds a satisfying intensity that perfectly captures the cataclysmic nature of the piece, as if the world is being consumed by flames.

2. Poeme Op. 59 No. 1 (H. Neuhaus)

The uniqueness here doesn’t stem from any extravagance in Neuhaus’ intensity or speed, but rather from the tone in his playing. Perhaps it’s the vintage recording quality, the character of the piano, or simply the skill of the pianist, but the crystalline clarity of the melodies truly captures the essence of the piece.

3. Piano Sonata 9 “Black Mass” (Bakk)

The most special recording is saved for last. In every aspect—rubato, dynamics, phrasing—the interpretation is strikingly unconventional. It’s this very unconventionality that gives the piece a dark energy, making its title feel all the more fitting.

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