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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4 Preludes op. 48: No. 2
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
Nana Kwame
Beautiful.
Just like his Nuance from Op.56.
Scriabinist
@Amaranth The Nuance I think is definitely more refined.
Amaranth
A very similar contour in the left hand. But here, though his textures have almost finished maturing, his harmony is still venturing.
Alon and Guy Ostrun
Nana Kwame I’m surprised you like this kind of music. I thought you’re more into rock/rap/pop
Eric Schissel
Despite the tempo marking I seem to hear it in my head rather faster. In any case it's weird, isn't it?
Eric Schissel
(Not at all meant as a negative comment. Can't play piano, but just as a listener I do find this an especially good piece)
신재원
@rola25 metronomes existed since Beethoven
rola25
@Eric Schissel But you forgot one thing: metronoms were actually kind of new in scriabins era. They were a little faster then today and everything but precise. So you can subtract about 4 to 13 Beats.
Eric Schissel
(I'm assuming that's Scriabin's metronome marking and not the later editor's, though.)
Eric Schissel
actually, there are 32 half-notes in the piece, and the metronome marking is "40-50 half-notes per minute", so Zarafiants in this Naxos recording is playing it too slowly. Should be, say, 38-48 seconds or so.