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"Margarita Fyodorova's hands are as light as air and her expression is vivid and impassioned...She has that manner of excited energy and contrasts characteristic of very great pianists." - Le Travail, Belgium
"Shame on the American musical establishment! It is a disgrace that pianist Margarita Fyodorova, making her
second appearance in the United States in the last two years, is yet again playing only a handful of
engagements...How is it possible that so eminent an artist can suffer such neglect? Now at age 65 this tall, portly,
elegant woman is at the height of her powers. Her fingers obey her will and her fabulous memory stands
steadfast...a tradition of Russian pianism courses through her veins. One can only marvel at how Fyodorova
handled the percussive , propulsive motoric score of the Shostakovich First Piano Concerto Sure-footed as an
Ibex, she leapt over its rocky, craggy landscape. In the slow waltz of the second movement she evoked magic
and in the fourth movement...she made the erratic tonal and tempo shifts sound reasonable... Of course one
reveled in the dexterity and the subtlety. It was overwhelming to hear this music as it actually was made in those
earlier, no less unhappy times."
Faubion Bowers, The American Record Guide January 1993
Sviatoslav Richter comments on Margarita Fyodorova performing the Fifth English Suite in the early 1950s, when she was a student at the Moscow Conservatory:
"Margarita Fyodorova. A pupil of Neuhaus.
I'm not expecting much, but I listen to the whole Suite with interest
and say to myself 'What a phenomenal piece!' In other words, the
interpretation didn't disappoint me!"
From: "Sviatoslav Richter: Notes and Concersations", ed. by Bruno Monsaingeon P.173. Princeton University Press
To purchase Madame Fyodorova's CD of the Scriabin Piano Concerto and the Saint-Saens Concerto No.4, please pay a visit to the IMCA Resource Center.
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| First movement: ALLEGRO. As performed by one of the greatest living interpreters of Scriabin, the incomparable Margarita Fyodorova, this youthful work blossoms into something radiant. It belongs to a period in Scriabin's creative lexicon when he was preoccupied with Nietzchean concerns: the re-evaluation of all values, the predominance of center, and the assertion of the ego. The affirmative statement made by this energetic and lyrical work sets forth that agenda from its ardent opening; the idea culminates in the third movement. Like the Schumann concerto, this work (in Scriabin's favorite key, F# minor) wastes no time in introducing the piano, which spins out its memorable first theme with compassion and nobility. | |
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| Second movement: ANDANTE. The ethereal, gracious middle movement is a theme and four variations, now gentle, now exalted whose moods are as various as its complexities are many. Its elaborate melismatic brocades and delicate filigree require extraordinary affective precision and a command of inflection that few artists can sustain, much less deliver. Margarita Fyodorova transcends these difficulties, making of the work something entirely magical and otherworldly. | |
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| Third movement. ALLEGRO MODERATO. The magniloquent finale of Scriabin's only piano concerto draws the work to its noble conclusion. Brilliant and effusive, it is, like the first movement (and indeed, the second as well), a gigantic mazurka, expanded into a grand statement whose virtuosic demands, informed by rhetorical bluster and affective intenstiy, is something only the greatest pianists can bring to life. Madame Fyodorova delivers what most will agree is the definitive performance of the Scriabin Piano Concerto. |
CD: MARGARITA FYODOROVA plays SCRIABIN PINAO CONCERTO (Moscow Radio Symphnoy; Fuat Mansurov, conductor)
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