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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Piano Sonata No. 1 in F Minor Op. 6: II.
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
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Pranav Rajesh and the Great Piano Repertoire
0:00- Mvt.1 (Allegro con Fuoco, F minor)
6:38-Mvt. 2 (Adagio, C minor)
11:26-Mvt. 3(Presto, F minor)
14:44- Mvt.4(Funebre, F minor)
I like turtles
You are always at least a a few months ahead of me!
Stockhausen
At the heights of my depression, I couldn't play this sonata, I always started crying. Thing is, the entire piece to me just sings of loss and hopelessness (perhaps appropriate considering the circumstances under which Scriabin wrote it). The first movement full of reminiscense and false hope, the second pretending to be at peace, third lashing out against fate. And the funeral march permeating the entire thing, until it finally hits with its uncompromising fatality. I don't know, it's just one of those pieces of music that I feel on a very personal level somehow.
Pangeaner
i dont quite get it, what hardships did scriabin go through his life?
Stockhausen
@Pangeaner This was written after he damaged his hand while practicing and the doctors told him he would never be able to play again. He himself described the sonata as a "cry against God, against fate". He recovered in the end, but when writing this piece, he felt hopeless and depressed.
Christian Vennemann
@Stockhausen It's also why the left-hand parts for this work (and others of this period of his piano compositions) are particularly difficult
Pentameron
0:04 - I. Allegro con fuoco
6:37 - II. Adagio
11:25 - III. Presto
14:45 - IV. Funebre
Orville Wright Jr
I believe this early Sonata of Scriabin's is exemplary of High and late Romanticism and actually very Lisztian in many aspects,an extension of polyphonic technique, which is practically orchestral in the first movement. The lyricism of the second movement is singular and very melancholic and Russian to me. The third movement is an aggressive display of Scriabin's piano technique. However, The fourth movement is very soulful and tragic, resembling Chopin's in obvious ways; but none the less uniquely Russian to it's core.
I'm A panda
The funeral match of this piece was written lamenting Scriabin’s right hand, which he injured playing Liszt’s diabolical Reminiscences De Don Juan Mozart. Lisztian indeed!
Erez Solomon
Big oof for Scriabin. It should be written on music-sheets of Liszt and other wild composers to not try to attempt at home, since "praying" won't help anymore when you're already the prey