The Russian composer Alexander Scriabin (1872–1915) is remembered mostly for his piano music, but his small number of orchestral works form a critical part of his output.

As he matured, this fervent, philosophical, mystical megalomaniac convinced himself that the future of music – indeed, of all art – was in his hands. (Scriabin had unusually small hands. Why does this seem to go together with narcissism?) He was working towards the ultimate revolutionary artwork, to be called Mysterium, when he died of sepsis at the age of 43.

Reputedly his last words were, “This is a catastrophe!”

His early Piano Concerto of 1894 shows strong hints of Chopin in the piano writing, and Tchaikovsky in the lucid orchestration. Symphony No. 1 continues to reveal Tchaikovsky’s influence, but at this time Scriabin became obsessed with Wagner (in particular, Tristan and Isolde), and Wagner’s chromatic harmony became a feature of all his future work. In Symphonies No. 2 and 3 (The Divine Poem), the orchestration is thicker and the harmony, Tristan-like, continuously unresolved.

The culmination arrives in two shorter works, which Scriabin regarded as his Fourth and Fifth Symphonies: The Poem of Ecstasy (his most popular piece), and Prometheus: The Poem of Fire, for piano and orchestra. All are in this new set of (so far) digital only recordings from Fabio Luisi and the Danish National Symphony Orchestra, recorded to celebrate the orchestra’s 100th anniversary.

Luisi’s recent set of the Nielsen Symphonies was rightly praised for its energy and clarity. The same attributes apply here, along with a calculated lightness of touch in the ethereal sections that are so much a part of Scriabin’s transcendental, mystical vision. A good example is the opening of The Poem of Ecstasy: before the trumpet’s repeated fanfare theme begins to dominate, Luisi evokes a translucent texture worthy of Debussy or Delius. Accompanying rhythms and orchestral details are sharply delineated; I have never heard such detail in this work before. It is a superb performance.

The Tchaikovskian aspect of Symphony No. 1 is equally lucid; the clarinet, which takes the main themes early on, is expressively played. The two vocal soloists in the finale, mezzo Ema Nikolovska and tenor James Ley, are also ideally ardent. Luisi’s clarity in No. 2 is an asset in this most Wagnerian of the symphonies. Crisp brass chording and tight string ensemble prevent the sound from ever becoming murky.

Luisi also keeps No. 3 moving, essential because of its organic formal progress. This is a hard work to keep hanging together, but Luisi’s momentum and the orchestra’s unflagging commitment manage it triumphantly. Finally, the two pianists are extremely fine: Julius Asal gives a glittering performance of the concerto, while Pierre-Laurent Aimard’s artistry illuminates the intractable Poem of Fire.

In terms of the competition, Muti’s Philadelphia recordings now sound punchy and relentless. A winning series with the Oslo Orchestra under Vasily Petrenko, and the best versions of the Piano Concerto by Kirill Gerstein and Yevgeny Sudbin are given a run for their money. Luisi’s performances, above all, reveal the sheer beauty of Scriabin’s music.

Listen on Apple Music

Composer: Scriabin
Works: Symphonies Nos. 1-3, Poem of Ecstasy, Prometheus, Piano Concerto
Performers: Julius Asal, Pierre-Laurent Aimard p, Danish National Symphony Orchestra/Fabio Luisi
Label: DG 4867984 (Download)