6 Preludes, Op. 13: No. 1 in C major: Maestoso
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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6 Preludes Op. 13: No. 1 in C major: Maestoso
Alexander Scriabin Lyrics
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Dottore '
Indeed, the first prelude (1895), marked Maestoso, is certainly one of Scriabin's most Lisztian works, featuring a serene melody, rich harmonies, and a rapturous glow that recall so many of the Hungarian master's ecstatic religious pieces. The second prelude provides as stark a contrast to the first as one could imagine, the Allegro tempo and running scales combining in a spirit of nervosity and caprice. The third prelude, marked Andante, is gentle and forlorn; the fourth, marked Allegro, is elegant in its wandering theme, charming in its subdued manner. "Charming" also describes the fifth prelude, marked Allegro, which is also chipper and nonchalant . The final prelude, marked Presto, is fraught with anxiety and darkness, the main theme building from a series of descending chords and creating much tension before the prelude settles into a peaceful close.
Dihelson Mendonca
The best performance of Scriabin preludes = Zarafiants
Dottore '
great prelude
Francesco Giordano
Chopin funeral march :)
Patrick Dirks
Ridiculously overlooked.
EMANUEL ! Composer for (Great) Stories
I know: at 66 is hard no ?;)
EMANUEL ! Composer for (Great) Stories
why C Major, and not d minor dorian with end in the dorian major dominant?
EMANUEL ! Composer for (Great) Stories
@Egg MCMUFFIN i know this explantion, but a piece in d dorian can end in C, so there is a reason for this. THe main reason is that his whole musical message is not tonal, is modal and atonal, it is pantonal, but rarerly tonal in the same sense as Chopin was. My question is to recognize the dorian halfcadence in c major (the cadence to dominant), because of its dorian leading tone, and c major as the proper dorian major dominant of d dorian. I think C major and d minor are the real modal dominant /tonic relations for eolian and dorian mode .
Because of the focus on d minor on the subject I see this as an open ending, not a closed ending. The subject in itself is a opening move into nothing, what makes it very melancholic.
For me the title is just a editorial move, for people of the time could understand.
But i dont have the piece in my mind anymore, just played this in the church and remember because it looks easy but the middle and the interpretation is hard! It is a very especial prelude if one wants to play in the church on piano.
EMANUEL ! Composer for (Great) Stories
Egg MCMUFFIN ah ok
EMANUEL ! Composer for (Great) Stories
Egg MCMUFFIN as if were simple to say it is just a c major piece