Deux poemes Op 32 [5'01] 1 No 1 in F sharp major:
Andante cantabile [3'21]
No 2 in D major:
Allegro, con eleganza, con fiducia [1'40]
Poeme tragique Op 34 [3'28]
Poeme satanique Op 36 [6'32]
Poeme Op 41 [4'46]
Deux poemes Op 44 [2'43]
Feuillet d’album Op 45 No 1 [1'08]
Poeme fantasque Op 45 No 2 [0'30]
Scherzo Op 46 [1'29]
Quasi valse Op 47 [1'34]
Reverie Op 49 No 3 [1'25]
Fragilité Op 51 No 1 [2'32]
Poeme ailé Op 51 No 3 [1'18]
Danse languide Op 51 No 4 [1'42]
Trois morceaux Op 52 [5'08]
Ironies Op 56 No 2 [2'17]
Nuaces Op 56 No 3 [2'06]
Deux morceaux Op 57 [4'24]
Feuillet d’album Op 58 [1'11]
Poeme Op 59 No 1 [1'59]
Poeme-nocturne Op 61 [6'46]
Deux poemes Op 63 [3'27]
Deux poemes Op 69 [3'45] c
Deux poemes Op 71 [3'36]
Vers la flamme ‘Poeme’ Op 72 [5'47]
Deux danses Op 73 [5'12]

For all of his short adult life, Alexander Scriabin wrote or planned to write monumental works of great import, and in between these efforts he produced a steady torrent of miniatures, tiny concentrated droplets of this same expansive genius. Fascinatingly, the composer’s designation ‘poeme’ is applied both to ground-breaking symphonic perorations and to the extended series of thirty-four little piano pieces, written over more than a decade and often grouped into little sets. Their inspirations are as varied as their titles from black magic to cosmic aspiration and they offer a key into their composer’s inner world.

American pianist Garrick Ohlsson is an acknowledged master of the genre astonished critical reaction to his recordings of Brahms, Granados and of course Chopin attest to this and this new Scriabin recording will only enhance an admirable reputation.