© Luigi Tazzari

Revolutions in Music
Tribute to El Lissitzky
Cuneo Rosso
The Piano and the Russian Revolution

Daniele Lombardi piano

Aleksandr Nikolaevič Skrjabin
Vers La flamme. Poème op. 72 (1914)      

Arthur Vincent Lourié    
Synthèses (1914)
Formes en l’air. À Pablo Picasso (1915)
Troisième Sonatine (1917)

Daniele Lombardi
Mitologie 4 “Cosa può fare un pianista contro le guerre?” (2002)

Aleksandr Vasil’evič Mosolov
Sonata n. 4 op. 11 (1924)
Turkmenische Nachte (1928)

The October Revolution and the piano: this combination might shed some light on events that are only seemingly minor, and on the contradictions that tied Europe to the Soviet Union. If the scenarios advanced by Marinetti’s Futurist Manifesto seem to loom behind Scriabin’s Vers la flamme, in 1914 Russian artists and intellectuals were not too keen on welcoming Marinetti. They had no doubts: to them, the father of the Russian avant-garde was Arthur Vincent Lourié, né Sergej, whose new name derived from Schopenhauer and Van Gogh. But the above combination also leads to the pianism of Alexander Mosolov, the link between Scriabin and Prokofiev, who valued his psychologism. The composer was sentenced to serve in a gulag for not complying with the “collective tension towards socialist realism”.