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A compilation from en. and ru.wikipedia


by Tatiana Polomochnykh

Alexander Scriabin

Contents
A compilation from en. and ru.wikipedia
By Tatiana Georgevna Polomochnykh

Media in category "Compositions by Alexander Scriabin"


Media in category "Ogg files of music by Alexander Scriabin"
Alexander Scriabin
SCRIABIN, ALEXANDER NICHOLAEVICH (1871-1915), Encyclopaedia Britannica
,
()
1 ()
2 ()
3 () Divino Poema

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2 ()
3 ()
9 ()

Media in category "Compositions by Alexander Scriabin"


The following 18 files are in this category, out of 18 total.

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20091104 Awadagin Pratt - Scriabin, tude Op. 8 No. 12 edit1.ogg
4.45 MB
Etude 8 12.png 30 KB
Etude Op. 42, No. 5 (Scriabin).png 41 KB
Scriabin op.70.png 68 KB
Scriabin op.8 no.12.svg 75 KB
Scriabine.LaDivinPoeme.tif 6.33 MB
Skrjabin chromatik.JPG 212 KB
Stigliani.-.scriabin.42.05.mid 19 KB
Winitzky.-.scriabin.13.01.mid 6 KB
Winitzky.-.scriabin.15.02.mid 5 KB
Winitzky.-.scriabin.25.03.mid 6 KB
Winitzky.-.scriabin.25.09.mid 12 KB
Winitzky.-.scriabin.32.01.clavinova.mid 7 KB
Winitzky.-.scriabin.32.01.general.midi.mid 7 KB
Winitzky.-.scriabin.40.02.mid 5 KB
Winitzky.-.scriabin.42.01.mid 12 KB
Winitzky.-.scriabin.42.06.mid 9 KB

tude Op. 2 No. 1 (Scriabin).png 284 KB

Media in category "Ogg files of music by Alexander Scriabin"


The following 11 files are in this category, out of 11 total.

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12 Pista 12.ogg 3.13 MB
20091104 Awadagin Pratt - Scriabin, tude Op. 8 No. 12 edit1.ogg 4.45 MB
20091104 Awadagin Pratt - Scriabin, tude Op. 8 No. 12.ogg 1.28 MB
Alexander Scriabin - prelude no. 1, op. 67.ogg 1.87 MB
Scriabin - Feuillet d'album - Tjako van Schie - piano.ogg 366 KB
Scriabin.11.04.sarefo.ogg 1.29 MB
Scriabin.11.06.sarefo.ogg 767 KB
Scriabin.57.01.sarefo.ogg 1.36 MB
Skrjabin op 11 1.ogg 728 KB
Skrjabin op 11 2.ogg 1.46 MB
Skrjabin op 40 2.ogg 677 KB

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Alexander Scriabin
From Wikipedia, the free encyclopedia

Alexander Nikolayevich Scriabin


Alexander Nikolayevich Scriabin[1] (pron.: /skribn/; Russian: ; 6
January 1872 [O.S. 25 December 1871] 27 April [O.S. 14 April] 1915) was a Russian composer and pianist.
Scriabin's early work is characterised by a lyrical and idiosyncratic tonal language influenced by Frdric
Chopin. Later in his career, independent of Arnold Schoenberg, Scriabin developed a substantially atonal
and much more dissonant musical system, accorded to mysticism. Scriabin was influenced by synesthesia,
and associated colors with the various harmonic tones of his atonal scale, while his color-coded circle of
fifths was also influenced by theosophy. He is considered by some to be the main Russian Symbolist
composer. Scriabin was one of the most innovative and most controversial of early modern composers. The
Great Soviet Encyclopedia said of Scriabin that, "No composer has had more scorn heaped or greater love
bestowed..." Leo Tolstoy once described Scriabin's music as "a sincere expression of genius."[2] Scriabin had
a major impact on the music world over time, and influenced composers like Roy Agnew, Nikolai
Roslavets, Sergei Prokofiev and Igor Stravinsky.[3] Scriabin's importance in the Soviet musical scene, and
internationally, drastically declined. "No one was more famous during their lifetime, and few were more
quickly ignored after death."[4] In the 1970s, for instance, there were only three recordings of his complete
(published) sonatas. Yet Scriabin's work has steadily regained popularity in recent years.[citation needed]

Biography
Childhood and education (18721893) Scriabin was born into an aristocratic family in Moscow on
Christmas Day 1871, according to the Julian Calendar (this translates to 6 January 1872 in the Gregorian
Calendar). His father and all of his uncles had military careers.[4] When he was only a year old, his mother
herself a concert pianist and former pupil of Theodor Leschetizkydied of tuberculosis. After her death,
Scriabin's father completed tuition in the Turkish language in St. Petersburg, subsequently becoming a
diplomat and finally leaving for Turkey, leaving the infant Sasha (as he was known) with his grandmother,
great aunt, and aunt. Scriabin's father would later re-marry, giving Scriabin a number of half-brothers and
sisters. His aunt Lyubov (his father's unmarried sister) was an amateur pianist who documented Sasha's early

life until the time he met his first wife. As a child, Scriabin was frequently exposed to piano playing, and
anecdotal references describe him demanding his aunt play for him. Apparently precocious, Scriabin began
building pianos after being fascinated with piano mechanisms. He sometimes gave away pianos he built to
house guests. Lyubov portrays Scriabin as very shy and unsociable with his peers, but appreciative of adult
attention. Another anecdote tells of Scriabin trying to conduct an orchestra composed of local children, an
attempt that ended in frustration and tears. He would perform his own immature plays and operas with
puppets to willing audiences. He studied the piano from an early age, taking lessons with Nikolai Zverev, a
strict disciplinarian, who was teaching Sergei Rachmaninoff and a number of other prodigies at the same
time, though Scriabin was not a pensionaire like Rachmaninoff.[4]

Zverev's students in the late 1880s. Scriabin, with military attire, is the second on the left. Rachmaninoff is the fourth from the
right.

In 1882 he enlisted in the Second Moscow Cadet Corps. As a student, he became friends with the actor
Leonid Limontov, although in his memoirs Limontov recalls his reluctance to become friends with Scriabin,
who was the smallest and weakest among all the boys and was sometimes teased because of this.[4]
However, Scriabin won his peers' approval at a concert in which he played the piano.[4] He ranked generally
first of his class in academics, but was exempt from drilling due to his physique and was given time each
day to practice at the piano. Scriabin later studied at the Moscow Conservatory with Anton Arensky, Sergei
Taneyev, and Vasily Safonov. He became a noted pianist despite his small hands, which could barely grasp
a ninth. Feeling challenged by Josef Lhvinne, he damaged his right hand while practicing Franz Liszt's
Rminiscences de Don Juan and Mily Balakirev's Islamey.[5] His doctor said he would never recover, and he
wrote his first large-scale masterpiece, his Piano Sonata No. 1 in F minor, as a "cry against God, against
fate". It was his third sonata to be written, but the first to which he gave an opus number (his second was
condensed and released as the Allegro Appassionato, Op. 4). He eventually regained the use of his hand.[5] In
1892, he graduated with the Little Gold Medal in piano performance, but did not complete a composition
degree because of strong differences in personality and musical opinion with Arensky (whose faculty

signature is the only one absent from Scriabin's graduation certificate) and an unwillingness to compose
pieces in forms that did not interest him.[4]
Career and later life (18941915) In 1894, Scriabin made his debut as a pianist in St. Petersburg,
performing his own works to positive reviews. During the same year, Mitrofan Belyayev agreed to pay
Scriabin to compose for his publishing company (he published works by notable composers such as Nikolai
Rimsky-Korsakov and Alexander Glazunov).[4] In August 1897, Scriabin married the young pianist Vera
Ivanovna Isakovich, and then toured in Russia and abroad, culminating in a successful 1898 concert in Paris.
That year he became a teacher at the Moscow Conservatory, and began attempting to establish his reputation
as a composer. During this period he composed his cycle of tudes, Op. 8, several sets of preludes, his first
three piano sonatas, and his only piano concerto, among other works, mostly for piano. For a period of five
years Scriabin was based in Moscow, during which time the first two of his symphonies were conducted by
his old teacher Safonov. According to later reports, between 1901 and 1903 Scriabin envisioned writing an
opera. He talked a lot about it and expounded its ideas in the course of normal conversation. The work
would center around a nameless hero, a philosopher-musician-poet. Among other things, he would declare: I
am the apotheosis of world creation. I am the aim of aims, the end of ends.[4] By the winter of 1904, Scriabin
and his wife had relocated to Switzerland, where he began work on the composition of his Symphony No. 3
(or Divine Poem). While living in Switzerland, Scriabin was separated legally from his wife. The work was
performed in Paris during 1905, where Scriabin was now accompanied by Tatiana Fyodorovna Schloezera
former pupil and the niece of Paul de Schlzer.[4] With Schloezer, he had other children, including a son
named Julian Scriabin, who composed several musical works before drowning in the Dnieper River at Kiev
in 1919 at the age of 11 years old.[6]
With the financial assistance of a wealthy sponsor, he spent several years traveling in Switzerland, Italy,
France, Belgium and United States, working on more orchestral pieces, including several symphonies. He
was also beginning to compose "poems" for the piano, a form with which he is particularly associated.
While in New York City in 1907 he became acquainted with Canadian composer Alfred La Libert, who
went on to become a personal friend and disciple.[7] In 1907 he settled in Paris with his family and was
involved with a series of concerts organized by the impresario Sergei Diaghilev, who was actively
promoting Russian music in the West at the time. He relocated subsequently to Brussels (rue de la Rforme
45) with his family. In 1909 he returned to Russia permanently, where he continued to compose, working on
increasingly grandiose projects. For some time before his death he had planned a multi-media work to be
performed in the Himalayas Mountains, that would cause a so-called "armageddon", "a grandiose religious
synthesis of all arts which would herald the birth of a new world".[8] Scriabin left only sketches for this
piece, Mysterium, although a preliminary part, named L'acte pralable ("Preparatory Action") was
eventually made into a performable version by Alexander Nemtin.[9] Part of that unfinished composition was
performed with the title 'Prefatory Action' by Vladimir Ashkenazy in Berlin with Aleksei Lyubimov at the
piano.[10] Scriabin was small and reportedly frail throughout his life. At the age of 43, he died in Moscow
from septicemia, contracted as a result of an infected boil on his lip or shaving cut.[11]

Music

See also: List of compositions by Alexander Scriabin and Category:Compositions by Alexander

Scriabin

Style and musical influences

The introduction to Scriabin's tude, Op. 8, No. 12


"tude Op. 8 No. 12"
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Awadagin Pratt performs Alexander Scriabin's tude, Op. 8, No. 12 at the White House Classical
Music Student Workshop Concert. (2009-11-04)

tude Op. 8 No. 12


tude, Op. 8, No. 12. played by Domenico Stigliani
Problems listening to these files? See media help.

Many of Scriabin's works are written for the piano. The earliest pieces resemble Frdric Chopin's and
include music in many forms that Chopin himself employed, such as the tude, the prelude, the nocturne,
and the mazurka. Scriabin's music gradually evolved over the course of his life, although the evolution was
very rapid and especially brief when compared to most composers. Aside from his earliest pieces, his works
are strikingly original, the mid- and late-period pieces using very unusual harmonies and textures. The
development of Scriabin's style can be traced in his ten piano sonatas: the earliest are composed in a fairly
conventional late-Romantic manner and reveal the influence of Chopin and sometimes Franz Liszt, but the
later ones are very different, the last five being written without a key signature. Many passages in them can
be said to be atonal, though from 1903 through 1908, "tonal unity was almost imperceptibly replaced by
harmonic unity."[12] Aaron Copland praised Scriabin's thematic material as "truly individual, truly inspired",
but criticized Scriabin for putting "this really new body of feeling into the strait-jacket of the old classical
sonata-form, recapitulation and all", calling this "one of the most extraordinary mistakes in all music."[13]
According to Samson the sonata-form of Sonata No. 5 has some meaning to the work's tonal structure, but in
Sonata No. 6 and Sonata No. 7 formal tensions are created by the absence of harmonic contrast and
"between the cumulative momentum of the music, usually achieved by textural rather than harmonic means,
and the formal constraints of the tripartite mould". He also argues that the Poem of Ecstasy and Vers la
flamme "find a much happier co-operation of 'form' and 'content'" and that later Sonatas, such as Sonata No.
9, employ a more flexible sonata-form.[12]
First period (1880s1903) Scriabin's works from the first period adhere to the romantic tradition, thus
employing the common practice period harmonic language. However, Scriabin's voice is present from the
very beginning, in this case by his fondness of the dominant function[14] and added tone chords.[15]

Common spellings of the dominant chord and its extensions during the common practise period. From left to
right: dominant seventh, dominant ninth, dominant thirteenth, dominant seventh with raised fifth, dominant
seventh with a rising chromatic appoggiatura on the fifth, and dominant seventh flattened fifth.
Scriabin's early harmonic language was specially fond of the thirteenth dominant chord, usually with the 7th,
3rd, and 13th spelled in fourths. According to Peter Sabbagh, this voicing would be the main generating
source of the later Mystic chord.[15] More importantly, Scriabin was fond of simultaneously combining two
or more of the different dominant seventh enhancings. However, despite these tendencies, slightly more
dissonant than usual for the time, all these dominant chords were treated according to the traditional rules:
the added tones resolved to the corresponding adjacent notes, and the whole chord was treated as a
dominant, fitting inside tonality and diatonic, functional harmony.[15]

Examples of enhanced dominant chords in Scriabin's Early work. Extracted from Mazurkas Op.3 (1888
1890): No.1, mm. 1920, 68; No.4, mm. 6567.
Second period (190307) During Scriabin's second period, his music becomes more chromatic and
dissonant, yet still adhering to functional tonality. As dominant chords are more and more extended, they
gradually lose their dominant function. During this time, complex forms like the mystic chord are hinted.[15]
At first, the added dissonances are resolved conventionally according to voice leading, but the focus slowly
shifts towards a system in which chord colouring is most important. Later on, fewer dissonances on the
dominant chords are resolved. According to Sabbanagh, "the dissonances are frozen, solidified in a colorlike effect in the chord"; the added notes become part of it.[15]
Third period (190715) I decided that the more higher tones there are in harmony, it would turn out to be
more radiant, sharper and more brilliant. But it was necessary to organize the notes giving them a logical
arrangement. Therefore, I took the usual thirteenth-chord, which is arranged in thirds. But it is not that
important to accumulate high tones. To make it shining, conveying the idea of light, a greater number of
tones had to be raised in the chord. And, therefore, I raise the tones: At first I take the shining major third,
then I also raise the fifth, and the elevenththus forming my chordwhich is raised completely and,
therefore, really shining.[15][16] Mystic chord: "This is not a basic chord, but a basic chord, a consonance. It is
trueit sounds soft, like a consonance."[15][17] "In former times the chords were arranged by thirds or, which
is the same, by sixths. But I decided to construct them by fourths or, which is the same, by fifths."[15][18]
Philosophical influences Scriabin was interested in Friedrich Nietzsche's bermensch theory, and later
became interested in theosophy. Both would influence his music and musical thought. During 190910 he
lived in Brussels, becoming interested in Jean Delville's Theosophist philosophy and continuing his reading
of Helena Blavatsky.[12] Theosophist and composer Dane Rudhyar wrote that Scriabin was "the one great
pioneer of the new music of a reborn Western civilization, the father of the future musician", and an antidote
to "the Latin reactionaries and their apostle, Stravinsky" and the "rule-ordained" music of "Schoenberg's
group."[citation needed] Scriabin developed his own very personal and abstract mysticism based on the role of the
artist in relation to perception and life affirmation. His ideas on reality seem similar to Platonic and
Aristotelian theory though much less coherent. The main sources of his philosophy can be found in his
numerous unpublished notebooks, one in which he famously wrote "I am God". As well as jottings there are
complex and technical diagrams explaining his metaphysics. Scriabin also used poetry as a means in which
to express his philosophical notions, though arguably much of his philosophical thought was translated into
music, the most recognizable example being the Ninth Sonata ("the Black Mass").
Performers Scriabin himself made recordings of 19 of his own works, using 20 piano rolls, six for the
Welte-Mignon, and 14 for Ludwig Hupfeld of Leipzig.[19] The Welte rolls were recorded during early
February 1910, in Moscow, and have been replayed and published on CD. Those recorded for Hupfeld
include the Piano Sonatas, Op. 19 and Op. 23.[20] Scriabin's music has also been performed by Sergei
Rachmaninoff, Arthur Rubinstein, Igor Zhukov, Wojciech Kocyan, Andrei Gavrilov, Bernd Glemser, Emil
Gilels, Ruth Laredo, Marc-Andr Hamelin, Evgeny Kissin, Claudio Arrau, Vladimir Ashkenazy, Stanislav
Neuhaus, Michael Ponti, Glenn Gould, Roberto Szidon, Robert Taub, Dimitri Alexeev, Matthijs Verschoor,
Piers Lane, Stephen Coombs, Nikolai Demidenko, John Ogdon, Alfred Cortot, Evgeny Zarafiants, Mikhail
Pletnev, Ivo Pogorelich, Daniele Conti, Gbor Csalog, Boris Berezovsky, Grigory Sokolov, Eric Le Van and
Roger Woodward. Pianists who have performed Scriabin to particular critical acclaim include Vladimir
Sofronitsky, Vladimir Horowitz and Sviatoslav Richter. Sofronitsky never met the composer, as his parents
forbade him to attend a concert due to illness. The pianist said he never forgave them; but he did marry
Scriabin's daughter Elena. Rubinstein premiered the Fifth Sonata in the West.[citation needed] Horowitz
performed for Scriabin as an 11-year-old child, and Scriabin had an enthusiastic reaction, but cautioned that

he needed more training.[21] As an elderly man, Horowitz remarked that Scriabin had nervous tics and could
not sit still for long.[21]

Influence of colour

Keys arranged in a circle of fifths in order to show the spectral relationship


Though these works are often considered to be influenced by synesthesia, a condition wherein one
experiences sensation in one sense in response to stimulus in another, it is doubted that Scriabin actually
experienced this.[22][23] His colour system, unlike most synesthetic experience, accords with the circle of
fifths: it was a thought-out system based on Sir Isaac Newton's Opticks. Note that Scriabin did not, for his
theory, recognize a difference between a major and a minor tonality of the same name (for example: c-minor
and C-Major). Indeed, influenced also by the doctrines of theosophy, he developed his system of synesthesia
toward what would have been a pioneering multimedia performance: his unrealized magnum opus
Mysterium was to have been a grand week-long performance including music, scent, dance, and light in the
foothills of the Himalayas Mountains that was somehow to bring about the dissolution of the world in bliss.
In his autobiographical Recollections, Sergei Rachmaninoff recorded a conversation he had had with
Scriabin and Nikolai Rimsky-Korsakov about Scriabin's association of colour and music. Rachmaninoff was
surprised to find that Rimsky-Korsakov agreed with Scriabin on associations of musical keys with colors;
himself skeptical, Rachmaninoff made the obvious objection that the two composers did not always agree on
the colours involved. Both maintained that the key of D major was golden-brown; but Scriabin linked E-flat
major with red-purple, while Rimsky-Korsakov favored blue. However, Rimsky-Korsakov protested that a
passage in Rachmaninoff's opera The Miserly Knight accorded with their claim: the scene in which the Old
Baron opens treasure chests to reveal gold and jewels glittering in torchlight is written in D major. Scriabin
told Rachmaninoff that "your intuition has unconsciously followed the laws whose very existence you have
tried to deny." While Scriabin wrote only a small number of orchestral works, they are among his most
famous, and some are performed frequently. They include a piano concerto (1896), and five symphonic
works, including three numbered symphonies as well as The Poem of Ecstasy (1908) and Prometheus: The
Poem of Fire (1910), which includes a part for a machine known as a "clavier lumires", known also as a
Luce (Italian for "Light"), which was a colour organ designed specifically for the performance of Scriabin's
tone poem. It was played like a piano, but projected coloured light on a screen in the concert hall rather than
sound. Most performances of the piece (including the premiere) have not included this light element,
although a performance in New York City in 1915 projected colours onto a screen. It has been claimed
erroneously that this performance used the colour-organ invented by English painter A. Wallace Rimington
when in fact it was a novel construction supervised personally and built in New York specifically for the
performance by Preston S. Miller, the president of the Illuminating Engineering Society. It was also
performed at Yale Universitys Woolsey Hall, New Haven, Connecticut, both in 1969 and again in 2010 (as
conceived by Anna M. Gawboy, who, with Justin Townsend, has published Scriabin and the Possible).
Scriabin's original colour keyboard, with its associated turntable of coloured lamps, is preserved in his
apartment near the Arbat in Moscow, which is now a museum dedicated to his life and works.

Reception and influence Scriabin's funeral was attended by such numbers that tickets had to
be issued. Rachmaninoff went on tour, playing only Scriabin's music. Sergei Prokofiev admired the
composer, and his Visions fugitives bears great likeness to Scriabin's tone and style. Another admirer was the
British-Parsi composer Kaikhosru Sorabji who strenuously collected the obscure works of Scriabin while
living in Essex as a youth. Sorabji promoted Scriabin even during the years when Scriabin's popularity had
decreased greatly. The work of Roslavets, unlike that of Prokofiev and Stravinsky, is often seen as a direct

extension of Scriabin's. Unlike Scriabin's, however, Roslavets' music was not explained with mysticism and
eventually was given theoretical explication by the composer. Roslavets was not alone in his innovative
extension of Scriabin's musical language, however, as quite a few Soviet composers and pianists such as
Samuil Feinberg, Sergei Protopopov, Nikolai Myaskovsky, and Alexander Mosolov followed this legacy
until Stalinist politics quelled it in favor of Socialist Realism.[24] Scriabin's music was very much disparaged
in the West in the 1930s. Sir Adrian Boult refused to play the Scriabin selections chosen by the BBC
progammer Edward Clark, calling it "evil music", and even issued a ban on Scriabin's music from broadcasts
in the 1930s. In 1935, Gerald Abraham described Scriabin as a "sad pathological case, erotic and egotistic to
the point of mania".[25] Scriabin has since undergone a total rehabilitation. In 2009, Roger Scruton described
Scriabin as "one of the greatest of modern composers".[26]
Eponym Asteroid 6549 Skryabin is named for the composer.[27]

Media

Scriabin's own recordings for the Welte-Mignon have been replayed in modern times and transferred
to audio.
Prlude Op. 11, No. 1 (728 kB)
Prlude Op. 11, No. 2 (1492 kB)
Mazurka Op. 40, No. 2 (677 kB)
Prelude No. 1, Op. 67 Performed by Jennifer Castellano. Courtesy of Musopen, 1.87 mB

Problems listening to these files? See media help.

Relatives

Scriabin's second wife Tatiana Fyodorovna Schlzer was the niece of the pianist-composer
Paul de Schlzer. Her brother was the music critic Boris de Schlzer. Scriabin was the uncle of Metropolitan
Anthony Bloom of Sourozh, a renowned bishop of the Russian Orthodox Church who directed the Russian
Orthodox diocese in Great Britain between 1957 and 2003. Scriabin's daughter Ariadna (Ariane) (1906
1944) was born in Italy, converted to Judaism (taking the name Sarah), and married the Russian poet and
Jewish WWII Resistance fighter David Knut. She was responsible for communications between the
command in Toulouse and the partisan forces in the Tarn district and for taking weapons to the partisans,
which resulted in her death when she was ambushed by the French Militia. Another daughter, Elena
Scriabina, married the pianist Vladimir Sofronitsky (after the composer's death, hence Sofronitsky never met
his father-in-law). Their daughter is the Canadian pianist Viviana Sofronitsky. Scriabin's great-greatgrandson Elisha Abas is a concert pianist who divides his time between New York and Israel.[28]
Piano portal
See also
Synthetic chord
Mystic chord
Atonality
Romantic music
20th century classical music
Music written in all 24 major and minor keys
ANS synthesizer

References
1.
2.
3.
4.
5.
6.
7.

^ Russian: , Russian pronunciation: [lksandr nklavt skrbn], Aleksandr


Nikolajevi Skrjabin; transliterated variously as Skriabin, Skrjabin, Skryabin, and Scriabine.
^ E.E. Garcia (2004): Rachmaninoff and Scriabin: Creativity and Suffering in Talent and Genius. Psychoanalytic
Review, 91: 42342.
^ Bowers, Faubion (1966). "Scriabin Again and Again". Aspen Magazine (New York: Roaring Fork Press) (2).
OCLC 50534422. Retrieved 14 April 2008.
^ a b c d e f g h i Bowers, Faubion (1996). Scriabin, a Biography. New York: Dover Publications. ISBN 978-0-486-288970. OCLC 33405309.
^ a b Scholes, Percy (1969) [1924]. Crotchets: A Few Short Musical Notes. Freeport, NY: Books for Libraries Press.
p. 141. ISBN 978-0-7222-5836-1. OCLC 855415. ISBN is for January 2001 edition.
^ The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th ed. Revised by Nicolas Slonimsky. New
York, Schirmer Books, 1993. p. 921 ISBN 0-02-872416-X
^ Gilles Potvin. "Alfred La Libert". The Canadian Encyclopedia. Retrieved 22 April 2010.

8.
9.

^ Minderovic, Zoran. "Alexander Scriabin". Biography. Allmusic. Retrieved 9 December 2007.


^ Benson, Robert E. (October 2000). "Scriabin's Mysterium". Nuances. Preparation for The Final Mystery. Classical CD
Review. Archived from the original on 30 December 2007. Retrieved 9 December 2007.
10. ^ Shelokhonov, Steve. "Alexander Scriabin". Mini Biography. Retrieved 26 January 2011.
11. ^ Garcia, M.D., Emanuel E. (19 January 2005). "Scriabin's Mysterium and the Birth of Genius" (PDF). Mid-Winter
Meeting of the American Psychoanalytic Association. New York, New York. Archived from the original on 12 December
2007. http://www.componisten.net/downloads/ScriabinMysterium.pdf. Retrieved 9 December 2007.
12. ^ a b c Samson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 19001920. New York: W.
W. Norton & Company. ISBN 978-0-393-02193-6. OCLC 3240273.
13. ^ Copland, Aaron (1957). What to Listen for in Music. New York: McGraw-Hill. OCLC 269329.
14. ^ Samson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 19001920. W.W. Norton &
Company. pp. 156157. ISBN 0-393-02193-9.
15. ^ a b c d e f g h Sabbagh, Peter (2001). The Development of Harmony in Scriabin's Works. ISBN 1-58112-595-X.
16. ^ Taken from Music-Konzepte Nos. 3233, a.a.,O.p.8.
17. ^ Leonid Sabaneev, Vospominanija o Skrjabine, Moscow 1925, p.47. quoted in Music-Konzepte 32/33,a.a.O., p.8.
18. ^ Leonid Sabaneev, Vospominanija o Skrjabine, Moscow 1925, p.220. quoted in Music-Konzepte 32/33,a.a.O., p.8.
19. ^ Smith, Charles Davis (1994). The Welte-Mignon: Its Music and Musicians. Vestal, NY: The Vestal Press, for the
Automatic Musical Instrument Collectors' Association. ISBN 1-879511-17-7.
20. ^ Sitsky, Larry (1990). The Classical Reproducing Piano Roll. Westport, CT: Greenwood Press. ISBN 0-313-25496-6.
21. ^ a b YouTube Horowitz plays Scriabin in Moscow
22. ^ *Harrison, John (2001). Synaesthesia: The Strangest Thing, ISBN 0-19-263245-0: "In fact, there is considerable doubt
about the legitimacy of Scriabin's claim, or rather the claims made on his behalf, as we shall discuss in Chapter 5." (pp.
3132).
23. ^ B. M. Galeyev and I. L. Vanechkina (August 2001). "Was Scriabin a Synesthete?", Leonardo, Vol. 34, Issue 4, pp. 357
362: "authors conclude that the nature of Scriabin's 'color-tonal' analogies was associative, i.e. psychological;
accordingly, the existing belief that Scriabin was a distinctive, unique 'synesthete' who really saw the sounds of music
that is, literally had an ability for 'co-sensations'is placed in doubt."
24. ^ Richard Taruskin (20 February 2005). "Restoring Comrade Roslavets". The New York Times. Retrieved 25 July 2011.
25. ^ Lincoln Ballard, Defining Moments: Vicissitudes in Scriabins Twentieth-Century Reception
26. ^ Scruton, Roger (2009). Understanding Music: Philosophy and Interpretation. Continuum International Publishing
Group Ltd. p. 183. Retrieved 28 November 20012.
27. ^ Lutz D. Schmadel. (2003). Dictionary of Minor Planet Names. Springer. p. 540. ISBN 3-540-00238-3.
28. ^ "Elisha Abas the official website". Archived from the original on 4 March 2008. Retrieved 14 April 2008.
External links
Wikiquote has a collection of quotations related to: Alexander Scriabin

Wikisource has the text of a 1922 Encyclopdia Britannica article about Alexander Scriabin.

Wikimedia Commons has media related to: Alexander Scriabin

Rachmaninoff and Scriabin: Creativity and Suffering in Talent and Genius by Emanuel E. Garcia
Scriabin Society of America
The mythical time in Scriabin by Lia Toms
Was Scriabin a Synaesthete? by B. Galeyev & I. Vanechkina
Scriabin in Aspen No.2 on UBUWEB (A short biography by Faubion Bowers; four preludes and the tenth sonata
available for download)
Alexander Scriabin discography at MusicBrainz
Aleksandr Scriabin MIDI files (subscription needed)
Works by or about Alexander Scriabin in libraries (WorldCat catalog)
Scriabin Liner Notes Russian-born pianist Yevgeny Sudbin discusses Scriabin's work and life.

Scores
Free scores by Alexander Scriabin at the International Music Score Library Project
Scriabin's Sheet Music by Mutopia Project
www.kreusch-sheet-music.net Free Scores by Alexander Scriabin
Recordings
Scriabin's own recording of the third and fourth Movements from his Piano Sonata, no. 3, Op. 23 (The Pianola Institute)*
Piano Rolls (The Reproducing Piano Roll Foundation)

Alexander Scriabin
From Wikiquote
Alexander Nikolayevich Scriabin (6 January 1872 27 April 1915) was a Russian composer and pianist.
This musician-related article is a stub. You can help Wikiquote by expanding it.
Unsourced
I am God.
o Scriabin wrote this in one of his secret philosophical journals.[citation needed]
Quotes about Scriabin
Scriabin always said that everything within his later compositions was strictly according to 'law.' He said that he could
prove this fact. However, everything seemed to conspire against his giving a demonstration. One day he invited Taneyev
and I to his apartment so he could explain his theories of composition. We arrived and he dilly-dallied for a long time.
Finally, he said he had a headache and would explain it all another day. That 'another day' never came.
o Faubion Bowers (1973), The New Scriabin, p.129. New York: St. Martin's Press.
Skryabin comes so close to the twelve-note system that it seems probable he would have taken it as the next logical step.
o Ellon Carpenter, quoted in Faubion Bowers (1973), The New Scriabin, p.171. New York: St. Martin's Press.

A young Alexander Scriabin (late 1870s) - Tombstone

1922 Encyclopdia Britannica


SCRIABIN, ALEXANDER NICHOLAEVICH (1871-1915), Russian composer, was born at Moscow on Christmas day 1871
(O.S.). His father was a lawyer; his mother, a good pianist and pupil of Leschetitsky, died when he was one year of age. His
schooling was received in the Moscow Cadet Corps, but he never showed any liking for the military career for which he was
intended, and at 18 entered the Moscow Conservatory of Music where he was a pupil of Safanov and Tanier. On leaving the
conservatory Scriabin was greatly helped by the patriotic music publisher Belayef, who brought out his earlier works and arranged
a European piano recital tour for him. At 20 he returned to Moscow and joined the conservatory staff. Later he again travelled,
this time for six years, visiting the United States amongst other countries. He then settled in Brussels for some time, and in 1910
returned to Moscow. In 1914 Scriabin visited England, giving two piano recitals, playing his own Concerto and appearing as
pianist in his Prometheus. He was then suffering from a tumour of the lip, from which, soon after his return, he died, April 14,
1915.
As a composer Scriabin represents what may be called the classical school carried forward to its most advanced point. The form of
his sonata and symphony movements he derives from Mozart, through Beethoven; however bewildering these may at first sound,
they will be found, on a second or third hearing, to be laid out on essentially the Mozart-Beethoven lines. In his pianistic idiom
and general pianistic qualities of style, Scriabin derives largely from Chopin, of whose work he was a great admirer. All this then
indicates a conservative side to his composition, but he was more radical in his harmonies, and it was, probably, largely the
novelty of these that retarded appreciation of his later works. Gradually he evolved what may be called a new scale or, from
another point of view, a new chord. It consists of the upper partials of the fourth octave from the fundamental note, less two
(taking C as the fundamental note C, D, E, F#, A, B or, arranged as a superposition of fourths, as Scriabin most frequently
uses them, C, F#, B, E, A, D). The hint of this new harmonic scheme may be seen in the earliest compositions, and its
development was fairly regular and consistent, until it came to dominate his later output. In his later works he discards entirely the
old key signatures. In his orchestration Scriabin calls for a large force, and uses it very freely; his scores are excessively
contrapuntal in texture, the various instruments moving very independently and weaving together their respective themes; muted
brass plays a large part in his orchestral colour scheme. In the First Symphony a chorus is used in the finale; the Poem of Fire
also uses a chorus, but in an orchestral way, no words being supplied. For the last-named work the composer also wrote an
optional part for a Tastiera per luce, or keyboard of light, the intention being that varying colours should play upon a screen as
the work was being performed. The composer was greatly interested in theories as to a correspondence between the musical scale
and the scale of colours. In his great Mystery (left unfinished at his death) music, dance, speech, perfume and colour were to be
combined; this work was to be rather a work of ritual than of art, and was to express its author's idealistic mysticism through the
medium of 2,000 participants.
It is usual to look upon Scriabin's musical work as largely the expression of theosophical views, and undoubtedly much of his
inspiration was drawn from the works of Blavatsky and others. He was not, however, a close reader, or a careful thinker. Seizing
the main idea of a book or a creed, he would neglect the details, and his imagination would quickly develop a huge scheme of
thought having little relation to what he had read. The titles of many of his works and of their separate parts, and the marks of
expression affixed to particular passages, indicate plainly the existence of a spiritual programme. The emancipation of the
human soul through ceaseless striving, and its achievement of self-expression, may be said, very roughly, to represent the general
sense of the spiritual basis of Scriabin's musical works.
The works of Scriabin have been variously classed into periods. A logical classification is into four periods as follows: 1st period,
with a strong Chopin influence; the dividing line between this and the 2nd period runs through the First Symphony, and the 2nd
period shows some Wagner and Liszt influences; the dividing line between this and the 3rd period runs through the Fifth Sonata,
and a 4th period begins with the Poem of Fire.
Works. Orchestral: Revery (op. 24); Symph. I. (26); Symph. II. (29); Symph. III., or Divine Poem (43); Symph. IV. (54);
Prometheus, or Poem of Fire (60). Piano: Sonatas I. (op. 6); II. (19); III. (23); IV. (30); V. (53); VI. (62); VII. (64); VIII. (66);
IX. (68); X. (70). A very large number of preludes, tudes, impromptus, mazurkas, poems, etc., including the great Vers la
Flamme poem and the much-discussed last work, the Five Preludes (op. 74). Piano and Orchestra; Concerto (op. 20). No songs
or chamber music are included in Scriabin's output. (P. A. S.)

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- Alexander Scriabin. Le Divin Pome. (Symphony 3 in C minor Op.43) - I. Introduction - 01:08


- Alexander Scriabin. Le Divin Pome. (Symphony 3 in C minor Op.43) - I. Luttes - 23:55
- Alexander Scriabin. Le Divin Pome. (Symphony 3 in C minor Op.43) - II. Volupts - 13:15
- Alexander Scriabin. Le Divin Pome. (Symphony 3 in C minor Op.43) - III. Jeu Divin - 11:03

1.

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268. .. (17/30 1902 ., ), . 265
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4. 1908, 1910
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6. . ., ., , 1965.
7. : !
8. - . . De musica .2 .,
1926.
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10. .. J . . ., 1985.
11. Kenneth Peacock. Instruments to Perform Color-Music: Two Centuries of Technological Experimentation // Leonardo:
Journal of the International Society for the Arts, Sciences and Technology, vol. 21, no. 4 (1988). P. 402403.
12. . . : // , 2006, 5.
13. "" (N 210888)
14. The Musical Times, # 113 (1972), p. 682.
15. Prometheus, The Poem of Fire // (.)

1. Bentham F. The art of stage lighting. L., 1968y. (art. Color music).
2. Klein A. Colour music. The art of light. L., 1926y.
3. Laszlo Z. Die Farblichtmusic. Leipzig, 1925y.
4. Scholes P. Color and music in: The Oxford companion to music. L., 1956y.
5. . .. .,1946.
6. . . . 25- . ., ., 1940.
7. . . . 1961. 1.
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, 1917. 24 .
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10. . .,1962.
11. . . .5 ., 1967.
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17. . .. . 25- ., ., 1940.
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1969., .77-141.
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22. . 1991.
23. . .. ., 1971.
24. . .,1961.
25. . ., 1978. .36
26. . .,1968.
27. .. 6, .5 ., 1981.
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44. . ., 1979.
45. .. . ., , 1961.
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1926.
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48. . .. . .2, 1923.

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(1997) "Alexander Scriabin: The Piano Sonatas", pp. 57 [CD liner]. Album notes for Scriabin:
The Piano Sonatas by Vladimir Ashkenazy. Decca.
Sonata No. 9 (Scriabin): International Music Score Library Project

(1912) Alexander Scriabin and Tatiana Schloezer on the banks of the


Oka River

, , 1912, Alexander Scriabin, Tatiana Schloezer and


Leonid Sabaneev on the banks of the Oka River

Scriabin (sitting on the left of the table) as a guest at Wladimir Metzl's home in Berlin, 1910

Yuri Khanon & Alexandr Skriabin (Saint-Petersbourg, 1902) frontispis of book "Scriabin comme Face"
, 1902 , ( " ). Margarita Kirillovna
Morozova Russian philantropist, patron of Arts, publisher, editor, author and
Memoirist. . .

Tobert Sterl (1867-1932), Klavierkonzert (Kussewizki and Skrjabin, 1910), New Masters Gallery, Dresden
Maler und Werk: Sterl. VEB Verlag der Kunst, Dresden 1977.

: , 125-
A.N.Scriabin & Jurgis Baltrushaitis & Julian Scriabin selo Petrovskoe na Oke - leto 1913 ,
, 1913

Julian Scriabin (12 February 1908 22 June 1919) was the son of Russian composer Alexander Scriabin and Tatiana de
Schloezer. He was himself a composer and pianist. . :
1913 . : .., .. (1908 - 1919) ..,
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Portret of Alexander Scriabin

Alexander Scriabin at the age of 24 (1896). ( 1903 .) .


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, Leonid Pasternak

Mystic chord (Scriabin).gif 3 KB

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Sketch of the Concert Ball for Mysterium by Alexander Nikolajewitsch Skrjabin - Skizze des kugelfrmigen Konzertsaals fr
Mysterium von Alexander Nikolajewitsch Skrjabin - Sketch by A. Skrjabin, reproduced: MGG Vol. 6, col. 739 f.

, ,
, (: , , , 1993 ) .
(-
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ISBN 5-87852-007-9.

--, . . .
. . XVIII . . XIX .) (. XVIII ., 1878 ., 1900 .)
( 624 04.12.1974 .)