For those unaware, this brand new album Golden Dreams: Scriabin & Chopin - Preludes by Fanny Azzuro, a narrator who invites the listener on a journey with multiple resonances, was conceived as a mirror image of two compositions that are so similar yet so different.

The poetic title refers to a quote by Liszt, in which he describes Chopin’s Preludes as golden dreams, and which Fanny translated into English as Golden Dreams.

On Golden Dreams, Fanny immerses herself once again in the magical world of the Preludes, in the golden dreams of Chopin and Scriabin. Chopin, the sensitive Polish Romantic poet; Scriabin, the modern Russian mystic who, following in Chopin’s footsteps, composed his 24 Preludes, a youthful work with a bold new language, but with explicit references to Chopin’s work.

Two pianists, composers and poets in their own way, two different natures and two men so close to Rachmaninoff’s heart, a reminder of her last recording program. Indeed, the conception of this album echoes the previous one, The Landscapes of the Soul, 24 Preludes by Rachmaninoff, here with a mirror between the two works: Chopin facing Scriabin. Her love of Russian music having never left her.

Inspired by her mentor Boris Petrushansky, who recorded a little-played version of Scriabin’s 24 Preludes, Fanny remains fascinated by these mysterious, nostalgic worlds. At once tender reveries and surreal songs, in which we perceive an unconventional interplay of rhythms between affection and mystery, the fluidity of water and dramatic evocations, these short pieces are a truly colorful journey.

A palette to unfold, wide-ranging different colors, golden touches, preludes that follow the same writing logic as Chopin’s: major key, relative minor key, then ascending in cycles of fifths. Chopin’s Preludes, so well known, so eloquent, so lyrical, so gentle and exalted, with this finesse of composition and this simple, pure romanticism, are above all lace.

Is it any different from Rachmaninoff? Yes and no. Is Fanny simply a great romantic? Maybe she is, but Chopin’s Preludes are compositions in a class of their own. They are not just, as the title might suggest, pieces intended to be played as introductions to other pieces; they are poetic preludes, analogous to those of a great contemporary poet, which lull the soul into golden dreams and lift it to ideal regions.

Admirable in their diversity, the work and knowledge they contain can only be appreciated on close examination. Everything in them seems to have been created at the outset, in a rush, a sudden arrival. They have the free and grand allure that characterizes works of genius. Liszt, on Chopin’s Preludes.

Moreover, in Scriabin’s work, the word golden may refer to the golden ratio. Indeed, behind the simple formal schemes of his works lurks a whole secret subterranean world of numerical proportions, golden sections and Fibonacian series quite analogous to the invisible geometry of Renaissance painters.

alexandre scriabin 1872-1915
1-24 24 préludes, op. 11
1. No. 1 in C Major, Vivace
2. No. 2 in A Minor, Allegretto
3. No. 3 in G Major, Vivo
4. No. 4 in E Minor, Lento
5. No. 5 in D Major, Andante cantabile
6. No. 6 in B Minor, Allegro
7. No. 7 in A Major, Allegro assai
8. No. 8 in F-Sharp Minor, Allegro agitato
9. No. 9 in E Major, Andantino
10. No. 10 in C-Sharp Minor, Andante
11. No. 11 in B Major, Allegro assai
12. No. 12 in G-Sharp Minor, Andante
13. No. 13 in G-Flat Major, Lento
14. No. 14 in E-Flat Minor, Presto
15. No. 15 in D-Flat Major, Lento
16. No. 16 in B-Flat Minor, Misterioso
17. No. 17 in A-Flat Major, Allegretto18. No. 18 in F Minor, Allegro agitato
19. No. 19 in E-Flat Major, Affettuoso
20. No. 20 in C Minor, Appassionato
21. No. 21 in B-Flat Major, Andante
22. No. 22 in G Minor, Lento
23. No. 23 in F Major, Vivo
24. No. 24 in D Minor, Presto

frédéric chopin 1810-1849
25-48 24 préludes, op.28
1. No. 1 in C Major, Agitato
2. No. 2 in A Minor, Lento
3. No. 3 in G Major, Vivace
4. No. 4 in E Minor, Largo
5. No. 5 in D Major, Allegro molto
6. No. 6 in B Minor, Lento assai
7. No. 7 in A Major, Andantino
8. No. 8 in F-Sharp Minor, Molto agitato
9. No. 9 in E Major, Largo
10. No. 10 in C-Sharp Minor, Allegro molto
11. No. 11 in B Major, Vivace
12. No. 12 in G-Sharp Minor, Presto
13. No. 13 in F-Sharp Major, Lento
14. No. 14 in E-Flat Minor, Allegro
15. No. 15 in D-Flat Major, Sostenuto
16. No. 16 in B-Flat Minor, Presto con fuoco
17. No. 17 in A-Flat Major, Allegretto
18. No. 18 in F Minor, Allegro molto
19. No. 19 in E-Flat Major, Vivace
20. No. 20 in C Minor, Largo
21. No. 21 in B-Flat Major, Cantabile
22. No. 22 in G Minor, Molto agitato
23. No. 23 in F Major, Moderato
24. No. 24 in D Minor, Allegro appassionato

This dutifully-imbibed, and creatively-hued new recording opens on Alexandre Scriabin’s Preludes (24), Op. 11 and the sweeping No. 1 in C Major, Vivace, the delicately-hued No. 2 in A Minor, Allegretto, the flourishing No. 3 in G Major, Vivo and the lamenting No. 4 in E Minor, Lento, and then we get the lavish No. 5 in D Major, Andante cantabile, the sparkling No. 6 in B Minor, Allegro, the plentiful majesties within No. 7 in A Major, Allegro assai, the decadent No. 8 in F-Sharp Minor, Allegro agitato, and then the splendid No. 9 in E Major, Andantino, the elegantly crafted No. 10 in C-Sharp Minor, Andante, the free flowing No. 11 in B Major, Allegro assai and the inviting No. 12 in G-Sharp Minor, Andante are brought forth.

Up next is the sheer decadence of No. 13 in G-Flat Major, Lento, the strident flare of No. 14 in E-Flat Minor, Presto, the delicate No. 15 in D-Flat Major, Lento, and the dutifully woven No. 16 in B-Flat Minor, Misterioso, and they are in turn backed by the plushly demure No. 17 in A-Flat Major, Allegretto, the free flowing No. 18 in F Minor, Allegro agitato, the resplendent No. 19 in E-Flat Major, Affettuoso, the grand No. 20 in C Minor, Appassionato, the works rounding out on the beautiful No. 21 in B-Flat Major, Andante, the quietly copious No. 22 in G Minor, Lento, the playfully flirtatious No. 23 in F Major, Vivo and the confident No. 24 in D Minor, Presto.

Then comes Frédéric Chopin’s Preludes (24), Op. 28, which open on the palatial No. 1 in C Major, Agitato, the thoughtfully pensive No. 2 in A Minor, Lento, the fluttering No. 3 in G Major, Vivace and a simply breathtaking No. 4 in E Minor, Largo, and they are in turned backed by the the swirls and twirls within No. 5 in D Major, Allegro molto, the copious No. 6 in B Minor, Lento assai, another work of pure elegance within No. 7 in A Major, Andantino, and then comes the spirited No. 8 in F-Sharp Minor, Molto agitato, the ornately sculpted No. 9 in E Major, Largo, the twinkling No. 10 in C-Sharp Minor, Allegro molto, the gorgeous No. 11 in B Major, Vivace, and the stridulant No. 12 in G-Sharp Minor, Presto.

Up next is the pure gossamer brought forth within No. 13 in F-Sharp Major, Lento. the furtive No. 14 in E-Flat Minor, Allegro, the delicate No. 15 in D-Flat Major, Sostenuto and the veritably blooming No. 16 in B-Flat Minor, Presto con fuoco, before we then get graced with the beautiful No. 17 in A-Flat Major, Allegretto, the fluttering No. 18 in F Minor, Allegro molto, the prosperous No. 19 in E-Flat Major, Vivace and one of my own personal favorite pieces, the grand No. 20 in C Minor, Largo, the work, and this recording as a whole, closing on the tangible No. 21 in B-Flat Major, Cantabile, the soaring No. 22 in G Minor, Molto agitato, the luxuriant No. 23 in F Major, Moderato, and finally we get the royally-hued No. 24 in D Minor, Allegro appassionato.

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Fanny Azzuro @ Instargram