Alexander Scriabin
Moscow, 1872 to Petrograd, 1915
Concerto in F sharp minor for piano and orchestra, opus 20
Scriabin began piano studies at age ten and continued with Safonov at the Moscow Conservatory while pursuing music theory and composition. After this solid foundation, his virtuoso career on the piano blossomed first in Russia and then across Europe starting in 1896. From 1898 to 1905 he taught piano at the Moscow Conservatory. The work performed today comes from a crucial moment in his life, written in 1897 as his creative voice was entering a rich phase. The premiere occurred on November 28, 1898 in St. Petersburg, with the composer at the keyboard and Safonov’s orchestra serving as the accompaniment. The piano part shines with brightness and agile movement, yet the orchestration remains restrained, which kept this concerto from achieving the same level of popularity as Scriabin’s later symphonic achievements. It did, however, pave the way for a unique blend of Romantic lyricism and evolving harmonic language. The second movement, Andante, unfolds as five variations on a single theme, beginning and ending with the same melodic idea, offering a contemplative contrast to the more radiant outer sections.
Pyotr Ilyich Tchaikovsky
Votkinsk, 1840 to Saint Petersburg, 1893
Symphony No. 1 in G minor, Winter Dreams, opus 13
Tchaikovsky pursued studies in law in Saint Petersburg before entering the newly established conservatory in 1862. He would become one of Russia’s most celebrated Romantic voices, shaping the post-Beethoven symphonic tradition with a total of six symphonies and works like Manfred. The first symphony, subtitled Winter Dreams, had its premiere on February 3, 1868 in Moscow under the baton of Nikolai Rubinstein. At that time, Tchaikovsky taught at the Conservatory and contributed to music criticism, while Rubinstein also played a guiding role in shaping the early performances. When creating his First Symphony, the composer undertook a demanding artistic journey that tested his stamina, and the public welcomed the work warmly. Rubinstein urged adjustments, and by 1874 the version on stage featured revisions across three movements, modifying orchestration to include a broader palette of wind colors and a richer string texture. The subtitle Winter Dreams reflects the composer’s memories of Nordic landscapes encountered during travels between Saint Petersburg and Moscow, rather than a strict calendar of winter months. The opening allegro establishes a sense of forward motion that mirrors a Winter Journey through dreams, while the adagio offers a mood described as dismal and misty. The symphony stands as a pivotal example of Tchaikovsky’s ability to fuse deep emotion with architectural discipline, a synthesis that would influence generations of composers who followed.