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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24 Preludes op. 11: No. 14 in E-flat minor. Presto
Alexander Scriabin Lyrics
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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
ond gaku
I love stormful pieces like this. Great interpretation!
Federico
Like Chopin Prelude no.22
Andres Gutierrez Alvarez
A fine rendition! I enjoyed your playing enormously. If i may: One of the musical ideas i enjoy most in this prelude, and i took from pletnev, is to take a tiny little time at the last RH chord in measure 19, before the last passage. It allows some "breathing time" for the listener. I also find that It makes sense harmonically. Measures 19 and 20 are an iteration of the subdominant chord that build tension, but the last chord is both dominant and dissonant. It makes for a nice musical effect in my humble opinion
Bill Magundie
Very fun to play prelude. Not too difficult technically. But its difficult to produce a good atmosphere -- like most of Scriabin's pieces. It's also very interesting that it is in 15/8.
Andres Gutierrez Alvarez
Actually much easier than It looks. I was scared to tackle It at first, but its construction is so ingenious and pianistic, it actually sits so comfortably in your fingers. An absolute delight both to play and listen
Bill Magundie
@Andres Gutierrez Alvarez Agreed!
Bruce Reid
This is basically what I’m aiming for. There’s no way I can play it as quickly as some, but I’d rather hear the music than just have a race to the end. Just like I hate Bach fugues that are played so quickly they start sounding like sewing machines!
TomCL 2000
I always try to play it the way the composer would want it played ( should it be the case that they want their music played rather than interpreted). From what we know of him as a pianist, Scriabin loved playing his own music with frantic pace and power. While I appreciate the rubato employed in the performance and how it allows the harmonic genius of the music to have a little longer in the spotlight, I feel that a faster, less romantic performance is more Scriabin-esque. Such a performance requires a precocious pianist.
Bruce Reid
TomCL 2000 , what it really takes is a better pianist than I am!!
TomCL 2000
Bruce Reid You can definitely get there. In my opinion, this isn’t one of the harder Scriabin preludes. Not much attention needs to be paid to voicing or dynamics, it’s just the cleanness of the notes more than anything else ( and actually hitting the left hand jumps lol)