Alexander Nikolayevich Scriabin or Aleksandr Scriabin (Russian: Александр Н… Read Full Bio ↴Alexander Nikolayevich Scriabin or Aleksandr Scriabin (Russian: Александр Николаевич Скрябин; 1872-1915, Moscow) was a Russian composer and pianist.
Many of Scriabin's works are written for the piano; the earliest pieces resemble Frédéric Chopin and include music in many forms that Chopin himself employed, such as the etude, the prelude and the mazurka. Later works, however, are strikingly original, employing very unusual harmonies and textures. The development of Scriabin's voice or style can be followed in his ten piano sonatas: the earliest are in a fairly conventional late-Romantic idiom and show the influence of Chopin and Franz Liszt, but the later ones move into new territory.
Scriabin has been often considered to have had synaesthesia, a condition wherein one experiences sensation in one sense in response to stimulus in another; it is most likely, however, that Alexander Scriabin did not actually experience this. His thought-out system of relating musical notes to colours lines up with the circle of fifths. Prometheus: Poem of Fire includes a part for a 'clavier à lumières' (keyboard of lights) though this is not often featured in performances.
Many of Scriabin's works are written for the piano; the earliest pieces resemble Frédéric Chopin and include music in many forms that Chopin himself employed, such as the etude, the prelude and the mazurka. Later works, however, are strikingly original, employing very unusual harmonies and textures. The development of Scriabin's voice or style can be followed in his ten piano sonatas: the earliest are in a fairly conventional late-Romantic idiom and show the influence of Chopin and Franz Liszt, but the later ones move into new territory.
Scriabin has been often considered to have had synaesthesia, a condition wherein one experiences sensation in one sense in response to stimulus in another; it is most likely, however, that Alexander Scriabin did not actually experience this. His thought-out system of relating musical notes to colours lines up with the circle of fifths. Prometheus: Poem of Fire includes a part for a 'clavier à lumières' (keyboard of lights) though this is not often featured in performances.
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12 Etudes For Piano Op.8: No. 11 in B Flat Minor
Alexander Scriabin Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Gustav Mahler Jr
I love how Horowitz plays this, best performance of this, the way he brings out the inner melodies. Scriabin passed Chopin very quickly and very few works sound like Chopin. Scriabin sounds like Scriabin very early on.This is one of his most melancholy pieces. I really love it.
Rich Kaz
The first 3 notes. Can play such a big effect on the heart. It pierces right through, a question "WHY, WHY WHY?"
Wernher Wilhelmson
The best thing about this is that the three notes ring out with this same meaning both in English and in Russian... In Russian they stress the three syllables of the Russian word for ‘why’... почему... (po-che-mu).
This only serves to confirm how Scriabin’s genius transcends languages and cultures...
PY B.
So accurate. And the answer comes at 0:26
Thomas K.
You probabky won't read this but I just teared up after reading your comment, it's so accurate
Forgotten Books
The two measures starting at 1:38 are so peaceful. It's like finding a pristine pool of water hidden away in the mountains in the middle of an arduous climb. The accented Fs in the coda (3:22) are the most genius part of the piece to me.
Alvaro García
Toda la música de Scriabin es perfecta. Junto con Ravel y Debussy son dioses!! Grandioso!!
SteinbergFiles
Scriabin + Horowitz = Masterpiece
Malenie V
Learning this for a contest coming up, it's made playing the piano for me really enjoyable now
sasha42196
Love Scriabin. Never heard this etude before and it is now a favorite right after op 2 no 1 and op 8 no 12