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 Poems%2C Op. 71%3A No. 1. Fantasque
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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@mikebel74
I believe the pianist is Joseph Villa, who sadly passed away in the ‘90’s. Exquisite playing.
@Examantel
Op. 71 No. 1, an excellent continuation of his earlier Op. 59 No. 2, with similar arpeggiating textures in the right hand.
@Nyarlathotep522114
continued even further in op. 74 no. 5
@tarikeld11
I don't know why but the first piece sounds like pure anxiety, horror and nightmare for me
@davidneese5422
Hearing a lot of Scriabin 8 in this
@avvocatostyle
Scriabin 8 is his most refined and perfected version of his late style, being written after the 9th and 10th sonatas, it only makes sense
@ziegunerweiser
A lot of his scale concepts require you to forget your preconceptions of scale theory, imagine a traditional 7 note sequence but add extra notes so that you have parts of the scale including 3 semi tones in a row, or you can view it as borrow a lower neighbor / upper neighbor concept - you still have the traditional scal as a framework but you are borrowing extra notes that change come one bar to the next. Imagine a scale that has a major and minor 3rd, a different scale with 4th raised 4th and 5th all next to each other and another with dominant 7th and major 7th and octave 3 semi tones in a row. One bar has one pattern and the next bar has a different sequence. I don't really think of it in terms of scales, it's more like what chord you are playing over and what you are trying to do melodically on top cause everything is supposed to be about melody. It's just that altering a melodic idea with a note that sort of throws a monkey wrench into the mix can make a more interesting modern sound. A lot of this is a continuation from a previous thread:
https://m.youtube.com/watch?v=nyqq89BZcN0
@MahlayStudios
+scottbos68 Interestingly, Scriabin was brilliant at taking one chord and manipulating one of the tones using the upper neighbor/lower neighbor tones, thus creating a dissonant feeling by using just tonal chords. This ingenious technique is especially prominent in the Le Poeme d'Extase.
@OmgEinWahnsinniger
It’s almost an early and yet different form of modal jazz. Having a chord and basing the melody scale on that chord giving u multiple opportunities and scales that can be used and thus creating bitonal and dissonant melodies/ patterns
@toothlesstoe
Bruh don't overthink it it's just the octatonic scale