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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Vers la Flamme Op. 72
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
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@4hm3dimr4n
It's amazing when someone can make music that's both intellectually complex, physically challenging and emotionally breathtaking. Scriabin fits into this category.
@s1earle
Yes, sexual overtones imply that this music is only played at certain times, by those who have nothing else to do...
@karolturbiarz4736
@@s1earle sexual overtones where
@williamshakemilk2192
@@s1earlelol
@reetrol
@@s1earle ??????????????????????????????????????????????????????
@vlotjah
"...Is very special music. I have to take my jacket off..."(Horowitz) I suppose you could translate the title with "Entering Hell". Anyway, it feels that way. Very scary.
@richardszalai5230
,,Fire which never dies , burning you for ever "
@santiagodaneyko4160
There's actually a belief behind it: Scriabin thought that the world would eventually burn up as a consequence of a heat accumulation, and spirit would transcend matter so we wouldn't need a physical context anymore. This piece is a "poem" about that
@armandodelromero9968
“Prepare for big sound”
@erikfreitas7093
Sublime piece. 3:24 (éclatant, lumineux) is when it becomes truly radiant and otherworldly. Horowitz brings a thermonuclear intensity to it that’s beyond any other performance I know.