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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Etude In C-sharp minor Op. 42 No. 5
Alexander Scriabin Lyrics
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NicoOfficial
2:11 He played that part in a way that no other pianists have been able to do. It was beyond beautiful.
Михаил Власов
I think he plays correctly, because he knew Scriabin personally
Seigneur ReefShark
@Михаил Власов if one plays how he feels, how his soul wants him to do, it's correct. Don't think about composer intentions!
Luca
@Seigneur ReefShark hello there
I thought you said you didn't like Horowitz
Seigneur ReefShark
@Luca not on all pieces
I albk
The same applies to the part starting from 00:58
Sean Riedy
My old piano teacher introduced me to Scriabin two years ago, and having listened to much of his œuvre I still think this is one of the most beautiful and consequential pieces he wrote. If his earlier pieces are "sane" and his later ones "insane", this is a piece written by a man who is on the brink of insanity and is fully aware of it. His earlier pieces are written by a carefree and hopeful young man, and as he begins to spiral into depression and psychosis you can hear his inner turmoil characterized in this piece; he's trying to gnash and tear his way out, as a sane man fighting for a soul that is rapidly falling to insanity. The 5th piano sonata was the last true resistance he gave to that turmoil, and by the 6th and 7th you can hear that he's given up; he has fully succumbed to the ecstatic and erotic writing of his late period. In short, if I had to attribute one word to this piece it would be "tragedy", and the piece represents it better than anything else I've heard; and, of course, Horowitz absolutely knocks it out of the park with his playing, elucidating every little detail and nuance, bringing the piece to life. There is no recording that even comes close to comparing to this masterwork.
sandryushka
Sean Riedy You’ve articulated really, really well those very thoughts that I have had ever since I dedicated any attention to listening to Scriabin’s music as a whole. There is really one term that we can use to describe what happened to Scriabin - descent into tragic insanity. I always say that I physically cannot listen to any of his later output. Anything by Scriabin from after 1905 gives me a sense of unhealthy nausea, and I turn off the music once I’ve had enough of those unpredictable, totally baseless twists and turns of melody and harmony. Although I cannot cast away the fact that without his later shocking atonal music, Scriabin may never have been known half as well as he is nowadays in the field of classical music.
Sarah DuBois
Scriabon at his apex.
Purple Blue
@sandryushka I love both his earlier and later output and I think you are wrong to write off his later output like it's the product of a madman. Maybe try some of the later short piano pieces, instead of the sonatas. And what about The Poem of Ecstasy and Prometheus? Fantastic, rich orchestral music. It just takes (more) time to get used to. Or try Sonata No. 8 maybe, which isn't as dissonant and agressive as some of the other late sonatas.