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Pianist, August 2020

Scriabin sounds most fully himself in the Op 25 set… and it’s here that Peter Jablonski sounds most at home. The rubato is lavish, following Russian exemplars such as Neuhaus, and his address to the microphone is appropriately intimate. © 2020 Pianist



Patrick Rucker
Gramophone, July 2020

Peter Jablonski adds a disc encompassing most of Scriabin’s Mazurkas. They span the composer’s life from around 1884, the presumed date of the very early B minor Mazurka, to the two Op 40 Mazurkas from 1903, contemporaneous with the Fourth Sonata.

Jablonski brings extraordinary finesse to these dances, imbuing them with an unmistakable Weltschmerz that perfectly conjures the fin de siècle. © 2020 Gramophone Read complete review on Gramophone




Martin Cotton
BBC Music Magazine, May 2020

…the mastery of composer and performer is riveting. © 2020 BBC Music Magazine




Norman Lebrecht
Ludwig Van Toronto, April 2020

…Alexander Scriabin wrote a sheaf of mazurkas, which are Polish, and made them sound every bit as ethereal as Chopin at his most consumptive.

This is a remarkable piano album, one of the year’s best so far. © 2020 Ludwig Van Toronto Read complete review



The Sunday Times, London, April 2020

Beautifully played here in their near entirety. © 2020 The Sunday Times, London



David Denton
David's Review Corner, March 2020

Born in Moscow in 1872,  Alexander Scriabin was, from his teenage years the pianist most in demand, a fact that took his appearances into Russia’s large concert halls.

It was not the scenario best suited to the musician described as the ‘magician of sounds’, his lack of physical power defining that he was best suited to intimate venues where his Chopin inspired compositions would be ideal. So it was that his early works were almost confined to the keyboard, the Polish dance, the mazurka, that had inspired Chopin forty and more years earlier, becoming a major source of inspiration. The earliest dates from his sixteenth year, coming in a book of ten, each quite short. They did carry with them the message that, if Alexander was not a clone of Chopin, he was at this time a devoted admirer of the Polish composer. There was a gap of ten years, to 1898, before he began work on the Nine Mazurkas, during which time he had begun to compose for orchestra, his musical colours then more striking and also used in a much more adventurous harmonic language. In essence they were to move his works into the world of pianistic tone poems, and while they were still based on the Polish mazurka, they encompassed a new venturesome content. The dynamic range also became more extended with some energetic outbursts, particularly in the dramatic Fifth. In these passages Peter Jablonski can flex his virtuosity and power, though I do find him at his most persuasive in the more withdrawn moments, such as the Seventh, where you feel an element of sadness has crept into Scriabin’s mindset, and that feeling extends through to the end of this group. We go a couple of years forward for the very brief Two Mazurkas, but return to 1889 for the F major and B minor scores and a cameo Impromptu a la mazur. As performances I can commend them. and the Ondine recording is clinically clean and very well defined. © 2020 David’s Review Corner



Jean-Yves Duperron
Classical Music Sentinel, February 2020

Peter Jablonski reaches in an brings out this music’s opium-laced perfumes and colors, and projects their intoxicating essence very well. The music of Alexander Scriabin is not concerned with notes, but rather with what these notes can evoke. Jablonski’s got this covered. © 2020 Classical Music Sentinel Read complete review





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