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.
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
7 Preludes op. 17: No. 5
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
ColdTrix8
Brilliant piece!
Charlie Robertson-Boyd
Agreed!
Michelle Torres
Playing a music that fights people!
Robby Dyer
Reference to Chopin's Etude Op 10/1 . . . .
SpaghettiToaster
In fact, it sounds rather similar to Godowsky's (two-hand) study on op. 10 no 1. Wouldn't be surprised if G. was inspired by the sonority of this piece.
Gwilym Price
Robby Dyer , I hadn't noticed that - apologies, and also apologies for misinterpreting your comment. I thought that you were merely referring to the RH figures. Although I'm not convinced that the reference is deliberate - Scriabin finds himself on a ii7 chord in b.7 and wishes to get to V in b.9 - one route is via the French 6th used in b.8, and that neatly also doubles as a chromatic rise. Having said that, the similarities between this and bb.3-4 of Op.10/1 are obvious now that you have demonstrated them. It's not quite the same harmonically - the Chopin goes IV -> VofV9 (omitting the implied root of D) -> V, but there's the same resolution to the dominant and chromatic rise, so there clearly are similarities. Best wishes.
Robby Dyer
Gwilym Price, I'm sure you offer valuable insight in your response. I also like this piece better than 10/1 and other Chopin études, and I'm sure Scriabin referenced many wonderful Chopinesque ideas /within/ this great work—in fact, that was all I meant, not that the entire thing was a "mere" reference. If you listen at 0:15 you will here a direct harmonic reference to 10/1, which would be a difficult accident on the composer's part. Beyond that it is certainly subjective as to whether or not the feeling of the two pieces is similar, and I happen to think it is. Cheers.
Gwilym Price
Why? The RH figuration is very different, there's complex rhythms in 3, the passage from bb.5-8 sounds nothing like Op.10/1 and it's much more harmonically interesting. If anything it's more a reference to Op.10/4, bb.79-80 or Op.25/12, both of which have very vaguely similar RH arpeggiated figures, but even there the link is tenuous at best. To me, it's Scriabin Op.17/5, and is all the better for being so rather than merely a "reference" to some other work.