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. 9 in F major Op. 68 "Black Mass"
Alexander Scriabin Lyrics
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The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Rachlisztorowitz
Je me suis habitué à la version de Richter pendant longtemps, celle-ci est très différente... pourtant, très convaincante. Vladimir Horowitz était vraiment imprévisible et surprenant. Alors, à chaque fois que je m'apprête à écouter une de ses interprétations que je ne connais pas, je trépigne d'impatience comme un enfant qui attend la surprise, j'ai assez hâte, même si parfois je suis un peu déçu, ce qui arrive à tous (je n'ai par exemple pas apprécié sa version de la 5ème Sonate).
pianoclouds
@diekaiser7 You have a point there, perhaps I was wrong to say that the sonata is "atonal" because it certainly has a focus (as you have mentioned, the mystic chord). What I meant was that its style deviates from the traditional minor/major tonalities.
Arkadi Troitsky
Колоссальное сочинение!
Roger Moen
To my ear, Horowitz deviates from the score at 8:07, at the start of the allegro, in the left hand. It sounds more thunderous, like bass octaves or crashing chords, rather than the running bass the score indicates. Anyone else feel that way? Anyone know what he is actually playing in the left hand? All the other versions I’ve listened to appear to follow the score; but Horowitz was known for occasionally doing his own thing, particularly with Liszt.
Roger Moen
@vaad wilsla Interesting. Thanks for the comment!
vaad wilsla
I'm thinking he enforces the first note of the 3rd triplet (in the left hand ofc) with either an octave or a fifth. Either that or he simply plays that single note incredibly explosively (which he was certainly capable of!).
Brianjonestown
Sofronitsky couldn't, but Richter could. His recording from the Warsaw concerts in the early 70s stands as the strongest for me. Straight off the page into our neuroses.
Frozy
After working on the 5th Sonata (who's hell to execute holy fuck), i went on this one.
It's so pleasant to learn. You can spend hours to work slowly, just listening at the colours.
I like playing FFF tone clusters.
Same here, even 4th was nightmarish for me and I don’t need to say what 8 was like. This sounds like a nice break after those 3.
Alexander Bayramov
based