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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7 Preludes Op. 17 : No. 2 in E flat major
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
Searle Loughman
This one is marked Presto, however played by the performer as Allegro (except in the ending) - pls sample the performance of Michael Ponti to see what the composer really intended! As with many Scriabin performances of Mr Zarafiants he seems to lack the technique required of a "Scriabin performer". Ponti's renditions seem far better...
Kyle Schaust
Can someone explain what is going on with the bass? It says 2/4 but there's two extra eighth notes. Am I missing something?
benji c.
theyre triplets, but they don’t have the 3 over them. you can tell because theyre barred in groups of 3. polyrhythms are so pervasive in scriabin’s preludes that he often simply wont mark them, especially if it’s very clear from the grouping.
Alon and Guy Ostrun
It's presto..
Lynne Perkins
The below opinion shames me and is laughable, I know. It's just...you should HEAR some players from the past! I know it's plebian, but I'm glad people are slowing some of his pieces down a tad these days. Please don't yell at me! It's just...listen to an old recording of, say, the 4th Sonata. Buried under the noise in the end, for instance, is toe-curling beauty, and the only guy who dares slow it down so we can swoon is Pletnev. I would have blown it off, had I not been turned on by P.
Lynne Perkins
I've given a lot of thought to music, musicians and composer's work almost 50 years of piano playing and listening to music, and I've come to an admittedly unsupportable opinion, informed only by age and experience: sometimes composers don't understand aspects of their own work. Purists play/ed him as he notated and played a lot of his work--one long smeared BANG, hiding lush beauty and emotion in the noise. No wonder he fell out of popularity and is only now being rediscovered en masse.