Review: Scriabin - Vers la flamme - Yevgeny Sudbin, Piano

Yevgeny Sudbin’s Vers la Flamme continues a long-standing fascination with Alexander Scriabin that began with his 2006 release – a collection of piano etudes, mazurkas, sonatas, and shorter pieces. This 2025 album is similar in its overall curation, though it features a different selection of works.

Vers la Flamme

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As one of Scriabin’s final compositions, Vers la Flamme reflects the enigmatic style that defined his later years. Sudbin’s performance brings out the elements of mystery and mysticism, adding a chilling sense of dread to the dark dissonances. One of Sudbin’s strengths here is his pacing, especially in the way he navigates the faster-moving textures of the middle section without losing the underlying mood. This careful buildup is crucial, as it sets up the ultimate cataclysm that dominates the final section. While the clusters of sound can be strident, Sudbin’s tone remains controlled, which allows us to hear what the composer ultimately sought: enlightenment, made clear in the work’s conclusion in a major key.

Two very different sonatas are included on this disc: No. 4 in F-sharp major and the No. 10 “White Mass,” whose musical progression shows just how much Scriabin’s style changed over a decade. Sudbin’s reading of the second movement of No. 4 (track 3) subtly and boldly captures its extroverted character. The sprightly opening, with clean articulation and anticipation, is a fitting prelude to a more virtuosic and jubilant conclusion.

The Op. 70 sonata, on the other hand, explores more complex emotional territory and is a good showcase for the pianist’s versatility. As in Vers la Flamme, sharp outbursts punctuate sections of ethereal harmony. Sudbin emphasizes the abruptness of these interruptions so well that several moments are genuinely startling. Each sonata produces a distinct energy, and a side-by-side listen shows how Sudbin delineates the contrast between youthful enthusiasm and an unsettling, restless spirit searching for enlightenment.

One of the best-loved smaller works here is the Op. 59 F-sharp major Poème (track 17), which Sudbin, in his liner notes, describes as ‘suspended in air and time’ thanks to Scriabin’s colorful harmonies. The piece is also captivating for its freedom and inviting charm, so different from the weight of the larger works. At times, I felt the charm could be more pronounced—perhaps with lighter staccatos or a less sustained approach—but Sudbin’s attention to the cantabile character remains both mindful and beautifully executed.

The album also includes one of Scriabin’s finest etudes, the Op. 42 C-sharp minor (track 18), composed in the same year as the Poème (1903). There is much to appreciate in this energetic performance, but most impressive is the sense of continuity Sudbin maintains, despite the shifting textures and technical demands. While the accompaniment occasionally overpowers the main line, this does little to detract from the overall musicality. The sudden shift to a more tender character at 1’05” is especially well-timed and effective. While I’ve always admired Vladimir Horowitz’s live RCA performance for its sense of danger and volatility, Sudbin’s reading combines grace and drama in convincing fashion.

Yevgeny Sudbin (image:©️ Peter Rigaud)

Among the other sets, the Op. 16 Preludes are a welcome addition and recall the more Romantic character of Scriabin’s earlier period. In No. 1 (track 11), for example, the lyricism is gentle yet lush, and Sudbin’s use of the bass creates a warmth that’s hard to miss. The Allegro (track 12) again balances delicacy and power: the thematic material is first presented with clarity, then with more orchestral force, resulting in a dynamic transformation. The brief Allegretto (track 15) restores some playfulness that was missing in the Poème.

Sudbin’s love for Scriabin is evident in his accompanying musical notes: While much of his writing offers useful compositional and historical context, his reflections on why certain eras and works continue to attract him are equally welcome. Happily, The sincerity of his writing is matched by the thoughtful performances on this album.