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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Feuillet d'album Op.58
Alexander Scriabin Lyrics
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@gerardbegni2806
This delicious and délicate piece was Witten in a critical period when Scriabin left behind the extended tonal harmonic style for a modal synthetic world, and in parallel developed rhythmic compiles superpositions. The result is sometimes powerful, sometimes tiny and elegant like here.
@DihelsonMendonca
Late Scriabin works are almost based on the same chord arranged on different ways. It´s like he was always experimenting to see where that would go. He went very far on this formula. From around Op 58 to Op 74 he got deep on this thing. I wish he had lived some 30 or 40 years more what he had composed for orchestra, wonderful works.
@tfpp1
He did compose for orchestra, though not much. Have you heard his Prometheus, for piano and large orchestra & chorus? Or the incomplete excerpt of his Mysterium?
@roberacevedo8232
I’m pretty sure he also did a symphony
@roberacevedo8232
And a piano concerto
@roberacevedo8232
Also the poem of ecstasy
@tfpp1
@rober Acevedo I'm not sure if you were replying to me or the original poster, but I was only listing "orchestral" works in his late style. His symphonies by name are from his early period, as is his piano concerto. Poem of Ecstasy comes from his middle transitional style. Nonetheless all cool works for sure.
@satchelhill8220
The first notes immediately remind me of sonata 5
@haotianyu6368
Glad to see you're uploading Scriabin!
@Examantel
If all the F-sharp chords here were analyzed as V chords, it would be difficult to explain the unresolved nature of all of the added notes. Instead, it is easier to make the case that F-sharp mystic is the key, as all the notes of the mystic scale are used: F# G# A# B# D# E; and the B's near the end are non-harmonic pedal notes, vestiges of the past, notes that merely acoustically strengthen the F-sharps above them instead of signaling themselves as the underlying tonic.
It is not so much a stretch to go from major to mystic. The major can be thought of horizontally as a scale, or vertically as a 13th chord C-E-G-B-D-F-A. Like major, the mystic can similarly be thought of horizontally as a scale, vertically as the extended dominant chord spelled specifically as F#-E-A#-D#-G#-B#.