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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8 Etudes Op.42: No. 5 in C Sharp Minor
Alexander Scriabin Lyrics
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J. Vonhögen
In my personal opinion, Trifonov has probably the worst timing of all of the young, popular pianists out there on the international stage. I tried to listen to him with an open mind a number of times, but every time I do, I'm disappointed and also somewhat irritated by what I hear.
I totally respect the opinion of other people about Trifonov, but to me his playing is exemplary for the loss of our rich history and tradition of phrasing, rubato, separation of voices, independence of melodic lines, legato & 'half-staccato', and the narrativity in musical performance. The buildup, control and structural overview is so poor with many of the young pianists of today, it's like watching improv instead of a well-rehearsed play. Romantic music doesn't get the time and patience anymore to breathe the way it used to do. It all feels like sugar-induced restlessness nowadays.
I just can't stand the irregularity of Trifonov's timing and the structural inconsistencies in his buildup, his layering of voices & melodic lines, dynamic fluctuations, transitions and emotional tension in general.
I wonder if he ever listened to pianists like Bolet. If he did, he either didn't like his playing, or he just can't control his timing the way Bolet did.
I can't understand why Trifonov is currently more popular than pianists like Yundi Li and Seong-Jin Cho, to name just two other young DG artists.
I wish I could say more positive things about Trifonov, but let me try anyway: I like the fact that he inspires a lot of people all over the world and I like the fact that he attracts young piano fans and that he brings them into the concert hall. I also like the fact that he changes his appearance a lot, and actively works on building an image that reflects his energetic personality. I hope he will soon find that delicate balance.
Feel free to disagree with me. I value and respect everyone's opinion and I don't want to hurt anyone's feelings.
Deutsche Grammophon - DG
How do you like Scriabin?
호로비츠팬1234
gimozzi
Marcus Anthony
I like Scriabin with a side of absinthe.
一心AkaMissyTea早茶
My favourite period
Kreisler
Tear jerker
J. Vonhögen
In my personal opinion, Trifonov has probably the worst timing of all of the young, popular pianists out there on the international stage. I tried to listen to him with an open mind a number of times, but every time I do, I'm disappointed and also somewhat irritated by what I hear.
I totally respect the opinion of other people about Trifonov, but to me his playing is exemplary for the loss of our rich history and tradition of phrasing, rubato, separation of voices, independence of melodic lines, legato & 'half-staccato', and the narrativity in musical performance. The buildup, control and structural overview is so poor with many of the young pianists of today, it's like watching improv instead of a well-rehearsed play. Romantic music doesn't get the time and patience anymore to breathe the way it used to do. It all feels like sugar-induced restlessness nowadays.
I just can't stand the irregularity of Trifonov's timing and the structural inconsistencies in his buildup, his layering of voices & melodic lines, dynamic fluctuations, transitions and emotional tension in general.
I wonder if he ever listened to pianists like Bolet. If he did, he either didn't like his playing, or he just can't control his timing the way Bolet did.
I can't understand why Trifonov is currently more popular than pianists like Yundi Li and Seong-Jin Cho, to name just two other young DG artists.
I wish I could say more positive things about Trifonov, but let me try anyway: I like the fact that he inspires a lot of people all over the world and I like the fact that he attracts young piano fans and that he brings them into the concert hall. I also like the fact that he changes his appearance a lot, and actively works on building an image that reflects his energetic personality. I hope he will soon find that delicate balance.
Feel free to disagree with me. I value and respect everyone's opinion and I don't want to hurt anyone's feelings.
эсхатологический пиздец
Trifonov is doubtless one of the best pianists of today
Franz Schubert
Unquestioning!
эсхатологический пиздец
@RaptorTV я ругаюсь матом, но классическую музыку люблю и умею ценить, если её исполняют хорошо)))
RaptorTV
Не ожидал увидеть такой комментарий от человека с таким ником))