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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2 Pieces Op. 59 : No. 1. Poeme
Alexander Scriabin Lyrics
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The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@SCRIABINIST
I simp for Lettberg just for her Scriabin set
@BrassicaRappa
See - this is what I really like — I definitely didn't agree with a lot of the decisions made here, but I was right on the edge of my seat, and engaged with the performance the whole time, and it made me hear the piece from new angles that I hadn't considered before!
@BrassicaRappa
OMG it's Lettberg! That's so funny!
I actually got her box set of the Scriabin works for Christmas, and I haven't listened to it because I took my CD/DVD player out of my computer tower last time I was messing with it (god knows why I did that)!
lol WELL!
There you go!
Better figure out a way to play CD's again, you dummy!
@Examantel
In this set the transition from conventional tonality to Scriabin's own universe is almost complete. There are still vestiges of the past, such as e.g. in measures 5-6 of the first poem (which can be thought of as a V-I in F-sharp), but it makes more sense to analyze the piece as a whole as being in B.
@mantictac
Response to ancient comment:
This is true, but even in his latest years, Scriabin was never opposed to the very occasional blank triad or perfect cadence. His ninth Sonata is a good example; he uses a root-position V-I in B-flat, albeit to an octatonic b6 chord which I don't think he used very often either (https://www.youtube.com/watch?v=sbp2vciNePg at about 2:30).