"Already during my childhood, I became absorbed in Scriabin’s universe and fascinated with the idea of embracing the transformation of his style in one concert. With this program, I draw together pieces that are connected through the realization of similar ideas in Scriabin’s different stylistic periods. For example, the pathetic, rebellious line is drawn in the Etude op. 8 no. 12, Prelude op. 11 no. 14, Prelude op. 27 no. 1, Poeme op. 32 no. 2, Preludes op. 48 no. 1&4 and going to op. 74. The theme of erotic sensibility engulfs pieces from op. 1 and culminates in op. 57. Scriabin’s bestiary is represented by the pieces op. 22 no. 3, op. 52, no. 2, op. 63, no. 2: here, light, butterfly-like shapes transform into what Sabaneev calls in his memoir of Scriabin “some small winged creature, half-woman, half-insect, but necessarily female; it is somewhat spiky and twisted, and a little disjointed”. Op. 74 holds a special place in this program. It is the last opus Scriabin completed, and it sounds as if it was an abstract of his Mysterium – from the bells tolling in the first movement, to the universal collapse in the last one. This CD was recorded in 2017 in my own Steppenwolf studio, on the 1897 Bechstein concert grand piano from the Andriessen Collection Haarlem. Being both the performer and the sound engineer of this recording, I have tried my best to preserve all the finest nuances of this wonderfully and lovingly restored piano. Slava Poprugin (transl. by Elizaveta Miller)"