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. 2 in F sharp minor
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
Paco Machado
If you can't feel these rhythms and polyrhythms, you can't play it (well). That is the fucker.
The advanced rhythm course in Amsterdam is very good. Also private lessons possible and a book to buy (get) when you start private lessons there. I don't know the teacher (s) there.
Also the drummer Peter Magadini has a pilyrhythm book out there. See links below.
I spent a lot of time finding this information. The good thing is that all these polyrhythms exercises makes the timing better and better.
The sad thing is that music colleges are usually not good with studying polyrhythms and not good with studying different feels behind and ahead of the beat. See video below.
If we play exactly on the click it sounds mechanical. Maybe good sometimes if the composer requires it, but I don't like to hear the phrase "On top of the beat". It is behind or ahead in many variations.
Many usually think good timing is something we are born with, but it is not true. For example to feel a group of five takes time, and playing with different feels takes time - and to learn to feel the different feels.
Also we hear that to play different rhythm feels are an intuitive thing. No. We need to dig deep into it. It's all about emotions too. To play something angry and aggressive behind the beat is not very realistic, is it. Or to play a love song ahead of the beat. We need to be emotionally connected. If we can't feel the rhythms and the rhythm feels, we can't put emotions into it. And music is about expressing emotions.
Maybe the Brahms violin concerto in D is a good example of different rhythms and different rhythms feels blended together in a superb way by the solo violin.
"The lion never attacks behind the beat".
https://www.youtube.com/watch?v=uyr2pBVyqvU
http://www.advancedrhythm.com
https://www.amazon.com/Polyrhythms-Musicians-Guide-Peter-Magadini/dp/0634032836
https://www.youtube.com/watch?v=w0DtCmh0JI0
MoldySoup
The beauty contained within the fifth Étude drove me past the brink of tears.
Morgan Martinez
The difficulty of that piece is directly proportional to its beauty.
Aldo Rossi
The fifth is a deep homage to melancholy and sadness.
Classical Mountain
I barely can't hold my tears when I play this masterpiece.
Guillermo Badell
they are all wonderful but number 5 is just incredibly beautiful..full of Russian feeling, only meant for real virtuosos
Sean Riedy
The fifth etude, to me, is easily one of the best pieces of Scriabin's, if not of all time; not just for the raw musical value but also what it represents. This piece was written when Scriabin was forming his new harmonic system, and no doubt he was going a bit loony by then, practically psychotic by the end of his life. Listening to his earlier pieces you hear the strong tides and turbulence of his youthful emotions, but by the end of his life he has been consumed wholly by mysticism and eroticism. The fifth etude, as I hear it, is the last rebellion of a man who is going insane and knows it.
Daniel Tselyakov
Wow unbelievable, Ohlsson plays these extremely well! Made me feel like I was in flight in op. 42 n.5
Nghia Van
You should also listen to Horowitz’s performance, if you haven’t already
Daniel Tselyakov
@Nghia Van that was the first one I listened to! I love love Horowitz! However, Ohlssohn’s left hand technique is better than Horowitz. You hear every single note.
Where, Where
I think Scriabin reached same or more higher musical level than Chopin's Etude in this etude.
No.5 is of course good, but I especially prefer no.4 and no.8.
The dreamy and poetic mood of no.4 and the simple beauty and innocence of the theme of no.8, the contrasting and meditative mood of the middle part just melted my heart..