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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No. 12 Patetico
Alexander Scriabin Lyrics
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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
@present3348
@@Reboost269 I am completely fascinated and amazed by Lugansky, that's my point. Amazed. I can't imagine how I never knew of him before, maybe it was just that I knew of him many years ago, perhaps when he was very young, thought he was just another competition-winner type, and somehow didn't happen to hear anything.
Or maybe it's YouTube. I never realized how much is on here.
And forget about what I wrote, I'm just being silly, and my comment about mistakes was meant in a light way. It wasn't some kind of criticism like it sounds like you took it.
I despise the entire direction classical piano took some time ago. It turned into the breeding and training of competition thumpers. Lugansky seems like he's not one of those, or if he spent a period of time as one, he outgrew it.
I really am amazed at his physical perfection. I'm not sure I'm articulating it properly - it isn't just that he doesn't miss notes - he's far beyond that. (ok, finally I heard him miss a few, but basically his level of accuracy is staggering) It's that he doesn't make mistakes at much finer levels than hitting notes. His sparkling passages sparkle in a way that suggests every single note is the way he wants it, every line of legato is perfectly legato, his detached notes are - oh, the heck with it. I can't find a way to put it. All I know is that his physical technique and dexterity are so impressive its amazing.
And then, delivered through that, his interpretations are wonderful. While he's busy getting all the physical stuff as close to perfect as he does, which is practically inhuman, I can't make sense of it, he has a warmth and a level of musicality that is stunning. I watch the orchestra musicians and you can tell that some of them realize they're in the presence of greatness.
On top of all of that, there is a wonderful humanness to him - his demeanor, his face, his sense of commitment to what he's doing - as he plays. He could be an arrogant pr**k playing as he does, and I've known plenty, but he doesn't give that off at all.
My comment was meant very differently than you took it.
Anyway, that's great that you know him like that. I can only imagine what it must be like to watch him play right in front of you or demonstrate how he does things. His Rach 3, that cadenza, just like the Prokofiev 2 cadenza - WTF!!!!! Most pianists paint that stuff with broad strokes, but very few can hit every note while using each of the voices in each register the way this guy does. As I said, I've listened to a lot of him in the week since this started and he's such a sympathetic figure the way he holds himself as he plays.
And I think he could get every note correct in the Scriabin etude if he wanted. It's no more difficult than either of those cadenzas in places. Lots of wide jumps, but he seems to have an amazing ability with such things.
I'll stop. I was just kidding and I guess you were as well as far as your comments about me. None of that matters. I hope you realize the context of my comment now.
I type very fast. My comments are long. Nothing special in that. I didn't grow up texting, not reading or writing like most people now.
@classical.pianist
Magnificent. Passion. Power. Strength. Fortitude. Amongst the greatest living pianists!
@etruscie
May I add…. electricity and frisson!
@micheleangelo_pinto_piano
Don't care about a few fausse notes: NL gets closest to the essence of this piece, a swear and a prayer, at the same time. Great.
@gdkabsbdkwkwm4187
It is so stupid to talk about a few fausse notes.... He is super genius, probabpy the best pianist in history
@elegachi
The fact that even Lugansky misses a couple of notes makes me feel a bit better of myself 😂 Btw if you like this piece listen to Sultanov's version it's something special
@c.s.christopher5801
Kissin better IMO
@Chefpavel
"Playing a wrong note is an inconvenience. Playing without emotion is inexcusable." - Ludwig van Beethoven
@user-mi2nn1mk3q
Лучший, все трогает, захватывает- чувства, интеллект, сила Духа - пронзительны как ни у кого. Великий музыкант.
@z.d.davidson
Besides Horowitz's powerhouse version at Carnegie all those decades ago, Lugansky is the best living performer of this piece.
@emilianocastrocruz7948
completely agreed