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"In his music, Russia heard its present and was enlightened on its future…" The coordinate system of Alexander Scriabin's music knew no golden mean and was concurrently directed towards "supreme finesse" and "supreme grandeur". The latter concerned, first of all, his symphonic music – that's where his most large-scale, 'cosmic' ideas related with faith in Man as a creative personality capable of transforming the universe found their realization. "I am here to tell people that they are strong and powerful," the composer wrote.<br>
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A complete collection of Scriabin's symphonic works featured on these discs, including his early orchestral piece Dreams, is a clear demonstration of how the composer's style and philosophic views evolved through the first decade of the 20th century. From the first six-movement symphony (1900) with its choir finale glorifying art to The Divine Poem (third symphony) with its three movements enveloped in a single torrent of continuous symphonic development; then to a laconic, one-movement Poem of Ecstasy, a symbolic representation of the Act of Creation in music; and, finally, to a mystically grandiose Prometheus (1910), the score of which, apart from uncommon use of timbre colours of organ, piano and choir, incorporates a 'colour part' realizing Scriabin's 'colour vision' of certain sounds and keys.<br>
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Evgeny Svetlanov who recorded Scriabin's symphonies and orchestral poems as part of Anthology of Russian Symphonic Music with the USSR State Orchestra was unanimously recognized the best interpreter of Scriabin's music of the second half of the 20th century.
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