Scriabin Alexander Nikolaevich works list. Biography of composer N.A

A.N. Scriabin. (6.01.1872-14.04.1915)

"Once again wants Infinity
Ultimately identify yourself."
A. Scriabin

A.N. Scriabin is a composer, prophet, pianist, philosopher, poet. He is called the great mystic among musicians and the greatest musician among mystics. The life and work of Scriabin is shrouded in an inexplicable mystery.

Alexander Nikolaevich Scriabin was born in Moscow on January 6, 1872. The composer saw the first mystical sign in his life in the date of his birth (Christmas Eve). Such signs will accompany him throughout his life.

Already from the age of three, Shurinka was drawn to the piano and, when he was seated on the pillow next to the instrument, he fingered the keys, as if playing something. From the age of five he was already improvising on the piano. Since childhood, his creative talent has been manifested in many areas: he painted, wrote poems and plays, skillfully crafted wood; and he managed everything with amazing ease.

In the photo: N. S. Zverev with his students Sitting (from left to right):

A. Scriabin, N. Zverev, N. Chernyaev, M. Presman;

Standing (from left to right): S. Samuelson, L. Maksimov,

S. Rachmaninov, F. Keneman

Since the age of 7, Sasha has been composing music, playing the piano a lot and complains that even at night the music does not leave him. By the age of 9, he had already written many musical works. From the age of 10, Scriabin studied in the cadet corps, and also systematically and studied music for a long time. At the age of 16 he entered the Moscow Conservatory, and also constantly performs in piano concerts.

He graduates from the conservatory with a small gold medal. Scriabin's name is carved in gold letters on a marble plaque at the entrance to the small hall of the Moscow Conservatory. The Scriabin Museum contains a notebook containing a list of compositions written by him between the ages of 14 and 18. The total number of early works is more than 70. But the demanding author did not include all works in the lists.

After graduating from the conservatory, Scriabin continues to compose music and give many concerts. From overwork, he often experiences headaches and nervous breakdowns. In addition, sometimes the disease in his right hand, which he played for the first time while studying at the conservatory, recurs.

Since 1896, Scriabin has given concerts abroad: in Paris, Brussels, Berlin, Cologne.

Scriabin would like to engage only in composing and concert activities, but at the age of 25 he is already a family man, and his family is growing, so he is forced to continue his teaching work as a professor at the conservatory.

Vera and Alexander Scriabin.

During this period, Scriabin met the outstanding philosopher Sergei Nikolaevich Trubetskoy (1862-1905). Under his influence, Scriabin learns Latin, Greek, and English, and visits philosophical and literary and artistic societies. He had refined thinking and dialectical abilities. He was a skilled debater, in disputes he was a dangerous opponent, erudite and resourceful.

Scriabin writes his philosophical reflections in his diary. The composer formulates his ideals precisely and definitely. He serves his favorite art, the purpose of which is to make people's lives happy. Love and beauty will make people happy, but there should not be spiritual impotence. Life is a continuation of resistance. “I want to act and win”, writes Scriabin in his diary. There is also this entry: “I’m going to tell people not to expect anything from life other than what they can create for themselves... I’m going to tell people that people are strong and powerful, that there is nothing to grieve about, that there is no loss! So that they are not afraid of despair, which alone can give rise to real triumph. Strong and mighty is he who has experienced despair and conquered it.”

A.N. Scriabin. 1901

Scriabin’s words emanate from proud challenge and powerful will, with which he seems to denote his mission on this earth, the mission of helping people overcome despair, troubles and victory over them.

Scriabin believed that a person is half asleep, unaware of the true appearance of the world and his place in it. “In general, we do not know many of our hidden capabilities. These are dormant forces and they must be brought to life.”, writes the composer.

Religions are a gentle deception
It doesn't put me to sleep anymore
And my mind doesn’t go to sleep
Their softly shining fog.
My mind is always free
He says to me: you are alone;
You are a slave to cold chance,
You are the ruler of the entire universe.
Why are you handing it over to the gods?
Your fate, oh pathetic mortal.
You can and you must yourself
Victory glorious seal
Wear on a radiant face

The composer's reflections on the role of man in the universe, on the great possibilities hidden in man, on the role of experienced suffering in the knowledge of truth - surprisingly accurately resonate with the Teaching of Living Ethics and the Secret Doctrine.

In 1905, in Paris, Scriabin became acquainted with Theosophy, read the secret Doctrine, which became his reference book. He constantly subscribes to the journal “Bulletin of Theosophy”, and also reads books by A. Besant, and becomes a full member of the Belgian section of the Theosophical Society. Now in conversations he constantly used theosophical terms: he spoke about the Planes of the Cosmos, about the seven Root Races, Manvatars, etc., as something self-evident, completely understandable and irrefutable. He ardently defended theosophical truths, rebelling against all doubts.

Until the end of his life, Scriabin never ceased to admire E.P. Blavatsky, her courage, breadth and depth of views. When Blavatsky was declared a deceiver, Scriabin defended her by saying that “all truly great people had to go through accusations of this kind of dishonor.” Later, having become more closely acquainted with some theosophists and their works, he realized that many of them were mistaken in their understanding of the Truth, and that “in essence, they only have Blavatsky, the rest are not worth very much”- he said.

The important thing is that in books on theosophy Scriabin found confirmation and explanation of many of his feelings, visions, and guesses. He becomes convinced that the pictures of the past he sees had a real existence. He is convinced that man, as a unit of individual consciousness, is an integral part of the Unified consciousness of the entire Cosmos. Scriabin says: “On the one hand, the world is given to me as my single consciousness, from the sphere of which I cannot leave. On the other hand, it is obvious to me that my individual consciousness does not exhaust existence.”

At some point in his evolution as a composer, Scriabin realizes that he has managed to touch the great secret of art. He realized that music is a magical, effective energy that can change a person’s consciousness, and therefore the entire material world.

He believed that only music can free consciousness from the veil of illusion. "Music,- Scriabin writes, - You can induce hypnosis, trance, and ecstasy. Music is a sound spell. There is enormous magical power hidden in harmonies.”

Many spoke of the hypnotic effect of his solo performances, when listeners experienced auditory and visual hallucinations. Music performed by Scriabin acquired the meaning of a magical act, a sacred rite. K. Balmont recalls the unusual sensations during the Scriabin concert: “He was small, fragile, this ringing elf... There was some kind of light horror in it. And when he began to play, a light seemed to emerge from him, an air of witchcraft surrounded him, and on his pale face his dilated eyes became larger and larger. It seemed that this was not a man, even a genius, but a forest spirit who found himself in a strange human hall for him, where he, moving in a different environment and according to different laws, felt awkward and uncomfortable... Is it possible to tell the music and will they know how played the one who played incomparably?.. He... wanted to embrace the whole world with music.”

At first the fairies played with the moonlight,
Male sharp and female flat.
They depicted a kiss and pain.
Small ideas were murmuring on the right,

Magic sounds broke through from the left,
The will began to sing with a cry of merged wills.

And the light elf, the king of consonances,
Sculpted sounds into subtle cameos.

The faces swirled in the sound current.
They glowed with gold and steel,
Joy was replaced by extreme sadness,

And the crowds came. And there was singing thunder,
And God was man's double -
So I saw Scriabin at the piano.
6.05. 1925. K. Balmont

At the concerts of the brilliant composer-pianist, reality subtly changes, revealing its other faces - majestic, menacing, seductive; sound visions, pulsation. An exorbitant, inescapable longing for something unearthly, unattainable, Supreme.

Scriabin's biographer Sabaneev wrote about the composer: “He was out of this world both as a person and as a musician. Only in moments did he see his isolation, and when he saw it, he did not want to believe in it.”

Scriabin the composer began as a follower of F. Chopin, F. Liszt and Wagner, but at the age of 18 he described the features of his mature style, synthesizing harmony and melody, to which he would come two decades later.

Musicologist Abraham writes: “It is difficult to believe that in just 13 years a composer could go from a graceful, elegant, completely Chopin-esque concerto to a work that in his time was considered an example of extreme avant-gardeism. Here the musicologist is referring to Scriabin’s greatest creation, “Prometheus.” But before “Prometheus,” the composer wrote the symphony “Divine Poem,” which is one of the highest achievements of Russian musical classics.

Tatyana Fedorovna Shlyotser

During these years, the composer had a very difficult period in his personal life. Since 1903 to 1905 meeting T.F. Schlözer, infatuation with her, breakup with his first wife, loss of his eldest daughter, loss of Trubetskoy, second marriage. Despite difficult family situations and tragic losses, Scriabin finishes another brilliant work - “Poem of Ecstasy” - a hymn to the all-conquering power of the human spirit.

Ecstasy in Scriabin's poem is the highest tension of human strength, a single spiritual impulse capable of reviving the spiritual principle, that force that elevates a person to the stage of purifying the soul and expanding the horizons of consciousness. Scriabin wrote: “What is in your consciousness - you did not draw it from yourself... You, knowledge, are the first ray of light of my knowledge, which illuminated the hitherto blind wandering (impulses) and thereby created it.”

Scriabin defines his state at the moment of creativity as flying in a state of ecstasy. He divided his consciousness into the earthly (i.e., lower “I”) and the Observer Consciousness (i.e., Higher Self, Spirit). And in the process of creativity, the vibrations of the lower “I” and the Higher interacted, which caused a state of mystical insight and ecstasy. ON THE. Berdyaev spoke about Scriabin: “I don’t know anyone in modern art who has such a frenzied creative impulse...”

In Agni Yoga, the High Path it is said: “Striving spirits can be in creative ecstasy.” (Book 2, p. 219).

In 1910 the monumental symphony “Prometheus” was born. Poem of Fire". In the poem, the principles of cosmogenesis received a vivid artistic embodiment of the Secret Doctrine. The composer emphasized that this symphony has no direct connection with the myth of Prometheus. Scriabin sang a majestic hymn to a man who realized that he held his fate in his own hands.

The poem also gives a symbolic image of Fire, as Light, as the Sun, as a cleansing force. The poet Balmont called Scriabin the “Spirit of Prometheus.” The poem reflects a conflict on a cosmic scale, the core of which is the idea of ​​the activity of the human mind, the idea of ​​creative and transformative will.

In accordance with the volume and versatility of the composition, the composer selects an unusual cast of performers:

Big Symphony Orchestra,

Piano,

A color keyboard that accompanies the music with changing color waves that illuminate the room.

The introduction of a part from the light was supposed to enhance the impression of the music. The technology at that time was not perfect. It did not give the desired effect of powerful waves and pillars of light that the composer dreamed of. The intuition of Scriabin, who foresaw the effects and expressive means of synthetic laser devices in the future, is amazing. In addition to the visual impression, color light was for the composer part of the music itself, because he saw music in color: “Sounds glow with colors.”

A. Scriabin. "Divine Poem" (Conductor A. Feldman)

It is known that every sound produces a corresponding flash of light, which takes on a certain color. There are seven basic sounds in the musical octave, and the same number of colors in the spectrum of sunlight. Aristotle wrote in his treatise on the soul: “Colors, by the pleasantness of their harmony, can relate to each other like musical harmonies and be mutually proportional.”

E.I. Roerich writes: “Sound is only the reaction of light. Sound turns into light and sound becomes sounding. In-depth knowledge of light will reveal its sound...” Reflecting the music in light effects, Scriabin tried to immerse listeners in the perception of subtle invisible worlds, tried to create a musical sound of his works visible to listeners. The finale of the poem “Prometheus” is a luminous major sound that symbolizes the creative fusion of man with the Universe.

“The Universe is a unity, a connection of processes coexisting in it”, wrote Scriabin.

"In this takeoff, in this explosion,
In this lightning rush,
In his fiery breath
The whole poem of the Universe",” stated the composer-philosopher-poet.

Beginning in 1905, the idea of ​​a grandiose synthetic work of art—a Mystery—was gradually born in the composer’s imagination, which was supposed to accelerate the awakening of the divine energies sleeping in man. The composer decides to “force things,” thus accelerating evolution. Humanity, which was supposed to happen in the process of fulfilling the Mystery. He called the main goal of existence of the entire earthly civilization a mystery. Scriabin, with his grandiose action, was supposed to give only the first impetus to the inclusion of fantastic cause-and-effect chains.

“I am doomed to perform the Mystery,” the composer asserted, sometimes hinting that the idea of ​​the Mystery was “opened” to him by something (or someone) external. He always avoided detailed explanations.

The dream of the Mystery arose in Scriabin when he discovered the property of music to change the course of time. When the composer finished work on a new piece of music, he experienced a state close to mystical ecstasy. The birth of a new sound world brought Scriabin into such a psychospiritual state when he seemed to penetrate into another (subtle) world, with a different space-time structure.

In a moment of artistic insight, Scriabin, like V. A. Mozart, was able to see a fairly lengthy work (for example, the fifth sonata in its entirety, as if “folded in time.” Scriabin’s philosophy of time arose from a superconscious feeling of the parallel real existence of music at its subtle level .

The composer writes that a piece of music comes from the future, where it exists in its entirety. And this is completely consistent with the philosophy of the Secret Doctrine, which says that everything present, past and future always exists in a single world Consciousness - the Consciousness of the Absolute or God.

At the moment of creative ecstasy, identical to timelessness, the composer’s consciousness was able to enter the flow of the One World Consciousness, and new sound measures “entered” Scriabin’s consciousness from the gates of the Future. In poetry he describes it this way:

From the darkness of the coming moment
New harmonies can be heard in formation.
He's completely ecstatic about the game
With your divine play.

And since the composer was able to penetrate into the world of the future, he could feel both the reverse passage of time and its complete stop, and hence the “folding in time” of an entire piece of music. Playing one of his preludes (Op. 74 No. 2), he explained: “...it seems as if it lasts for centuries, as if it sounds for millions of years. Don’t you think that music can enchant time, can stop it altogether?”

Scriabin uses sensations of time compression or acceleration as a means of penetration into other historical eras. He contemplates the distant future and past: “The depths of the past can only be measured from the heights of discriminating consciousness.”

Tens of millions of years of cosmic history flash before Scriabin’s gaze, which he perceives as the history of the evolution of the Spirit, now embodied in him. “Of course, his spirit knew…” says the book “The High Path” (Part 1, p. 642).

How was the embodiment of the Mystery in action imagined?

India was chosen as the place for the implementation of the Mystery. In the sky above the Himalayas, mystical bells will ring in a cosmic divine hymn.

All peoples inhabiting the earth will take part in the performance of the majestic action. On the shore of an enchanted lake, a spherical Temple of “fluid architecture” should be built, smoothly changing shape, with columns made of illuminated incense. In the Temple there would be processions, dances, recitation of sacred texts combined with the magic of light and sound. In the sphere of the Temple, as a model of the Universe, the planets should rotate, the stars should twinkle in the same rhythm with the music of light.

At the call of the mystical bells, all people will go to India to take part in the majestic symphony of the Transfiguration of the world. In a grandiose synthesis, sound, color, paints, aromas, mental images, a single dance rhythm, and the twinkling of stars will merge.

Seven days of magical action would, according to Scriabin, cover millions of years of comic evolution, at the end of which the combined power of the mental energy of all people - participants in the Mystery - was supposed to break through the physical field, dense worlds, snatch the consciousness of humanity from the snares of illusion and transfer it to the Higher worlds . Driven by the impulse of a single ecstasy, humanity would soar “into the sky” with a shining whirlwind of indestructible, immortal radiant energy.

Let's be born into a whirlwind!
Let's wake up to the sky!
Let's mix feelings in one wave!
And in luxurious splendor
The last heyday,
Appearing to each other
In the beauty of naked sparkling souls,
Let's disappear...
Let's melt...

The Temple of the Mysteries would be a tunnel for the transition to the Higher, Divine world. And again, the composer-prophet seemed to have foreseen the creation by the Teachers in 1898 of the “Temple of Humanity”, which could become a kind of tunnel, a single entrance through which everyone could take their evolutionary step, but not in the instant ascension of the Spirit under the influence of the mystical action of the Mystery, and in the process of going through all the thorns of life and realizing oneself as a particle of the Cosmos.

Scriabin speaks of the transformation of man “into a shining whirlwind of indestructible thinking energy.”

K.E. also spoke about the “radiant humanity” of the future. Tsiolkovsky, and A.L. Chizhevsky; V.I. Vernadsky wrote about the noosphere - the “sphere of Reason”. And the great composer-prophet - A.N. Scriabin also saw into the distant future and reflected it in his grandiose musical performance, the Mystery, but, more precisely, so far only in rough recordings.

Scriabin's mystery was not the end of cosmic evolution, but only the cessation of the usual earthly existence and the beginning of a new life on other planes, with a different level of consciousness, the beginning of the true divine existence of man.

The composer envisioned overcoming the eons of years that separated the 20th century and the ultimate goal of humanity with the help of the cosmic forces of the psychoacoustic structures he discovered.

"Time,- he explains, - will begin to gradually accelerate, because it was slowed down by the process of materialization, it seemed to become heavier, it materialized itself... And when the path to dematerialization begins, time itself will be the first to dematerialize... After all, I will have seven days in the Mystery, but these are not simple days... as in In the creation of the world, seven days meant huge epochs, entire lives of races... But they will also be days at the same time. Time itself will speed up and in these days we will live for billions of years.”

The mystery was created by the composer in two versions - musical and literary. In the musical version, Scriabin obviously managed to reveal the secrets of “sound magic”: the interaction of the sound field of music with the physical and subtle fields of the universe. Scriabin's friends, to whom he played large sound fragments of the grandiose sketch of the Mystery called “Preliminary Action,” experienced the sensations of a fantastic “sound dream.” But the music of the “Preliminary Act” went into oblivion along with its creator, because he didn't have time to write it down.

The literary part was recorded by Scriabin, and after his departure it was published in the almanac “Russian Propylaea” in 1919. If in the poem “Prometheus” the composer embodied the foundations of Cosmogenesis, then in the text of the “Preliminary Action” of the Mystery the scheme of the evolution of the seven Root Races of Humanity is reflected, i.e. Anthropogenesis. A detailed analysis of the text of the “Preliminary Action”, set out in five notebooks of Scriabin’s sketches, is given in his works by the researcher of the life and work of the composer A.I. Bandura.

Later, when professionals began to study Scriabin’s work, they discovered that the composer created such combinations of tonalities that evoked delight, awe, and flights of the Spirit in listeners! But the most amazing thing is that the combinations of tonalities in Scriabin’s works exactly correspond to the combinations of tonalities in the ancient Chinese system of the 12 liu of the end of the 2nd millennium BC. This correspondence is described in detail in the article by N. Gavrilova.

According to legend, the 12-liu system had a transformative effect on nature, because through each semitone a breakthrough was made into a system of a different order. Scriabin strived for such a breakthrough, a breakthrough through eons of future years, with the power of his music. Music carries such a powerful flow of energy that it becomes one of the forms of comprehension and transformation of the world. When we listen to music, the usual flow of time stops, time can turn to the past or future, speed up or slow down its flow, which is what Scriabin wrote about.

A.I. Bandura writes that “in the first fifty bars of the “poem of fire”... the mysterious hum of the “Promethean chord”... of the “Great Breath” is replaced by seven (!) works of a “rotating” motif (analogous to the Lyla centers)”. This chord was built by the composer according to Pythagorean ideas about the world, and it is the musical embodiment of the formula of evolution.

But what in our physical world was a chord of a complex structure, in the Subtle World could possibly produce the effect of a nuclear explosion? In January 1914, Scriabin had a meeting with Inayat Khan, the most prominent representative of Sufism. The sages say: “A Sufi is one who keeps his heart pure.”

In Moscow, two musicians, two composers, East and West, met, and were unanimous in the opinion that music opens the heart to beauty, goodness, and Love. Inayat Khan said about Scriabin: “I found in him not only a wonderful artist, but also a thinker and a mystic.”

Inayat Khan

Scriabin was near and dear to Elena Ivanovna Roerich for his theosophical worldview and love for H.P. Blavatsky, for the fiery themes of his major musical works. N.K. Roerich loved and often listened to “The Poem of Ecstasy” and “The Poem of Fire-Prometheus”. At N.K. Roerich has a painting “Ecstasy”. On December 15, 1940, in the “Leaves of the Diary” N.K. Roerich wrote: “I couldn’t believe it when the news of Scriabin’s death came... Promethean Fire went out again. How many times has something evil and fatal stopped the unfolding wings. But Scriabin’s “Ecstasy” will remain among the most victorious achievements...”

Belief in ecstasy, as the highest tension of human strength, as a single spiritual impulse, is capable of reviving the bright beginning when a person finds in himself the power that will “raise him to the levels of knowledge and beauty.” N.K. believed in this. Roerich, Scriabin also believed in this, saying:

“The deadlines will be fulfilled, the century will light up,
Whose ray shines in the rapids of centuries,
And the free Man will become firm
Before the face of the sky on your planet."

Was the composer's untimely and strange death the result of unsafe experiments with time?

Perhaps it was no coincidence that Scriabin died when he was ready to write down the score of the Mystery on music paper? And the music of the Mystery left along with the author.

Friend and relative of the composer B.F. Schlözer wrote: “In the winter of 1914-1915, he played us excerpts from the “Preliminary Action.” I felt as if only a part of his being was among us, but that his true essence was already approaching another life.”

He felt symphonies of light.
He called to merge into one floating temple -
- Touches, sounds, incense
And processions where dancing is a sign

. . . . . . . . . . . . . .

Wake up in the sky, dreaming on the ground.
Scattering whirlwinds of sparks in the pierced darkness,
In the grief of the victim he was unrelenting.

And so he wound himself in a fiery crater,
That I woke up in death with a shine on my brow.
Mad elf, beckoning, ringing Scriabin.

1. Unfortunately, such action of the Temple ended with the death of its founder Francia Ladue, who was the only one of all the leaders of the Temple who had a connection with Teacher Hilarion. You can read more about everything in the article http://www..htm SECT OF THE TEMPRIORS OR “HOLY ARMY” FROM THE USA. (Editor's note)

Literature

1. Bandura A.I. Alexander Nikolaevich Scriabin. Bulletin of Theosophy, No. 1-2, 1994.
2. Bandura A.I.. The Legend of the Seven Races. Delphis, No. 3(11), 1997.
3. Bandura A.I.. Composers-prophets. Spiritual contemplation, No. 1-2, 1998.
4.Belza I. A.N. Scriabin. M.: Muzyka, 1982.
5. Balmont K.D. Favorites. Poems; Translations; Articles. M.: Artist. lit., 1980.
6.Gavrilova N.“All the nerve and sacred flame...” Delphis No. 3 (11). 1997.
7. Agni Yoga. High Path. Part 1.2. M.: Sfera, 2001.
8. Temple teaching. Minsk: IP “Lotats”, 2001.

1872-1915

Creative path

This is a composer of the younger generation. A student of Taneyev, who emerged at the end of the 19th century together with Rachmaninov and Medtner. Innovator. Updated all means of musical expression. Created my own style. Composer and pianist, wrote in 2 areas: symphonic and piano music. He performed piano works himself. He was a piano teacher at the Moscow Conservatory. He had a unique overtone hearing. He considered sound to be a divine manifestation. He considered himself the creator of these sounds. Through them he comprehended the secrets of the universe. He considered himself the Messiah, who would free the human soul and give it divine freedom. Came to mysticism and extreme idealism. At the end of his life, the idea of ​​writing a “Mystery” arose, in which all humanity was supposed to participate. The result of its execution was supposed to be the collapse of the entire material world and the liberation of the souls of earthlings.

Creativity has undergone evolution. 3 main life periods:

First period - until the 20th century

Almost exclusively piano music. Genres: mazurkas, waltzes, preludes, etudes. In style, he is close to the romantics, especially Chopin. He was also influenced by Schumann and Tchaikovsky. The main genre is prelude. He wrote them at all periods of his life.

Second period - 1900-1910.

Orchestral works written: 3 symphonies, “Poem of Ecstasy”. Continues to write piano music 4th and 5th sonatas, preludes. The style becomes more complex. Comes to musical symbolism themes-symbols. Details the musical fabric. Each little topic has its own meaning. Gives directions. Gradually complicates harmony through alteration. The sound becomes polarized: on the one hand, high grandeur, on the other, deep sophistication. Predilection for high registers. In the works of this period he comes to poetry (one-partness).

The genre of the poem appears. Wrote 2 poems op. 32 , “Satanic”, “Tragic” - for piano.

Even in sonatas there is a compression into a one-movement form: 4 sonata, 3 symphony (3 parts, 1 part replaces 2).

Third period - 1910-1915 gg.

The 3rd period opens with “Prometheus”.

During this period, again, almost exclusively piano creativity. “Prometheus” for chorus without words, piano, orchestra and light instrument.

The language becomes even more complex and moves away from the traditional major-minor scale. In "Prometheus" the role of the tonic is played by a 9th chord with a dropped fifth and sixth. The texture also becomes more complex.

Life path

Born into the family of a diplomat. Mother is a pianist, graduated from the conservatory.

He studied in the cadet corps. At the same time, Kuprin studied there. First music lessons Konyus. He took lessons from Zverev and Taneyev.

In 1888 he entered the Moscow Conservatory. In 1892 he graduated with honors as a pianist with Safonov. I didn't graduate from the conservatory in composition, because... did not get along with Arensky, who did not understand Scriabin’s talent, did not understand his innovation.

After the conservatory, I met the composers of the Belyaev circle (Lyadov and others). Thanks to Belyaev, he launched a vigorous concert activity in Russia and abroad. He performed only his own works.

In 1898 he became a professor at the Moscow State Conservatory. He taught until 1904. A very good teacher. I never let my students play their works.

He began writing his first works while still in the cadet corps.

1st period orchestral piece “Dreams” and piano concerto.

2nd period. He left his job at the conservatory and went abroad. Lived and worked in Switzerland, Italy, France for 6 years. He went to give concerts in the USA. He was interested in philosophy. Comes to symbolism. In the last years of his creative work he came to Russia again. He toured a lot in Germany, England, and Holland.

3rd period. Wrote the last 5 sonatas (10 in total). Poem for piano “To the Flame”, poem “Mask”, poem “Nocturne” - for piano.

The idea of ​​“Mystery” appeared. I began work on the preliminary action (prologue to “Mystery”). All that remains from him is a poetic text and sketches of music.

He died in 1915 from blood poisoning. At Scriabin's funeral, Taneyev caught a cold and died the same year.

Piano creativity

Preludes, mazurkas, waltzes, impromptu, 10 sonatas (1st period 1-3; 2nd period 4.5; 3rd period 5-10). The special role of foreplay.

Poems op. 32 2 poems, “Tragic”, “Satanic”.

In the 3rd period he writes poems, preludes, the poem “The Mask”, “To the Flame”, the last 5 sonatas.

There are sketches.

Early work comes into contact with Chopin, Schumann, Tchaikovsky. In his early work he reveals experiences and many shades of mood (which was not the case later). The melodies are still melodious, but already quite broken. In harmony it is based on major-minor, but there are already alterations.

The early style is clearly revealed in preludes op. eleven . Initially, the idea was to write 2 cycles of 24 preludes, but I wrote only 1. The remaining preludes were included in other opuses.

Preludes op. 11 wrote for 8 years (1888-1896). Different impressions, different moods. He wrote in Moscow, Kyiv, Amsterdam, Paris, Germany. The cycle is built on the circle of fifths with parallels (like Chopin). Arranged in contrast. The interpretation of the prelude is similar to Lyadovskaya. Romantic miniatures, where there is no great scope, are chamber-scale (unlike Rachmaninov). Almost all preludes are written in period form. There are also simple 2-part and 3-part forms without internal contrasts. The chamberness is associated with the peculiarity of Scriabin's pianism. His hands did not have much physical strength. The right hand was weaker (he outplayed it).

Innovative features have already appeared in the preludes - the texture is very transparent, very individual each time. Predilection for middle and high registers. Polyphonization of texture. Ease is achieved by a small number of voices 2, 3 and 4 voices (no more). Every vote matters. The melody often runs at wide intervals with large leaps - No. 3, No. 21 are two-voice. No massive bass. Often the bass voice is tied from the weak to the strong beat (facilitates the strong beat). Often starts with bass jumps (airiness). No dense chords. The rhythm is capricious, often dotted. Very thin pedal. Scriabin used and determined what kind of pedal should be point, vibrating, etc. Veiling of strong beats. “Fought” with the bar line.

№1. Rhythmic figuration between chords. Simple 3-part form. C-dur.

No. 2. a-moll . The voices speak one after the other. Fragile. 2-part reprisal form.

No. 4. Period. e-moll . Mournful. Augmented triads.

No. 5. Period. D major . There's a melody in the bass. Individual melody.

No. 9. E-dur. Period.

No. 10. cis-moll . Chord alteration D- groups. 3-part form.

No. 15. Des-dur . Full diatonic. Not a single chromaticism.

Second period of creativity

The genre of the poem appears as one of the manifestations of symbolism. Poeticism is the compression of a cycle into one part.

4 and 5 sonatas. The 4th sonata is in 2 movements, but goes without a break and is connected to each other by one idea. The 1st movement plays the role of an introduction to the 2nd. And the 5th sonata is one-movement, and all other sonatas are also one-movement.

At this time, the 3rd symphony was written: 3 parts go without interruption, connected by a common idea and thematic theme.

Compressed themes-symbols appear: will, self-affirmation, stars, flight, languor. The writing technique is becoming more and more detailed. The polarization of states is intensifying: on the one hand, the highest grandiosity, and on the other, the highest sophistication.

The elements of musical language become more complex. Very often the melody is a horizontally decomposed harmony, a vertically folded melody. The harmony is dominated by 7 and 9 chords. Favorite interval 4. Created a “Promethean” chord, like the center of the mode, built according to 4. In the play “A Leaf from an Album” the center of the mode “Promethean” chord.

The polyphonization of texture and individualism of texture are increasing. There are wide leaps in the figurations. The bass is not deep, but light. Predilection for high registers. The rhythm is very capricious: polymetry, there is a veiling of bar lines.

4 sonata

1903, Fis-dur last tonal sonata. There are features of programming.

2 parts. Introduction and sonata allegro. Gradually abandons cyclicality - a sign of poetry.

1 part. Simple 3-part form. Section 1 produces the sound of a twinkling star somewhere far away.

Style: high registers, solid 7th and 9th chords, instability, lack of bass. It gives the impression of airiness. Lots of alterations.

In the reprise this theme sounds differently. The texture is divided into 3 layers. The theme of the star does not disappear, but a flight to it occurs in part 2. For the first time I pretended volando , for Scriabin this is flight.

Part 2. G.p. flight theme. Capricious rhythm. Lots of pauses. The theme is new, but related to the theme of the star.

Development. The theme of the star comes through again in fortissimo fashion. In the code there is ecstasy. Triplet rehearsals appear.

Symphonic creativity

These are works that express the originality of Scriabin’s philosophy, his innovations and distinctive style. Almost all of them were created in the middle period.

The desire for contrasts was clearly manifested in symphonic creativity. All 3 symphonies are devoted to the theme of transformation of the world, art, and through art the liberation of the human spirit. Each one ends in victory.

In addition to connections with Beethoven (“from darkness to light”), there is also the influence of Tchaikovsky’s dramatic compositional techniques: the use of leitmotifs on the edge of forms. From Taneyev monothematism, thematic arches. The genre of symphonic poem is also associated with Liszt.

1st symphony 6-part cycle with a hymn to art in the finale, where he introduced the choir and soloists. Your own poems.

2nd symphony 5 movements. At the end, the affirmation of a bright beginning.

3rd Symphony “Divine”. 3-part cycle without interruption

There is an influence of Wagner in symphonic work: a state of languor, heroism, aspiration, harmonic language, orchestra. Strengthening the power of the orchestra.

Starting with Scriabin's 3rd symphony: 4 wooden instruments, 3 trombones and a tuba, 8 horns, 5 trumpets, 2 harps, percussion.

In the “Poem of Ecstasy” there is an organ and celesta, bells. In “Prometheus” there is a piano, a choir without words and a light instrument.

In the 3rd symphony “The Divine Poem” the grandiose concept of the transformation of the world and the liberation of the spirit is expressed.

Symphony 3 “Divine Poem”

1904, c-moll . The formation of the human spirit.

Part 1 “Struggle”.

Part 2 “Pleasures”, E-dur , sonata form.

Part 3 “Divine Game”, C-dur.

The West cycle is permeated by one theme, the leitmotif - the theme of self-affirmation. This is the source for all other topics. The theme of self-assertion returns many times throughout the symphony and ends the entire symphony. Passes on the edges of the forms of part 1.

1 part. "Struggle". The intro theme is played by low instruments. An expression of supreme grandeur. 2nd element trumpet motif move on 6. The timbre of trumpets is associated in Scriabin’s timbre system with the highest grandeur. The coda of the finale is the culmination of the entire symphony. The theme of the slow part is near the pipes.

This is the introduction to the entire symphony. Sonata allegro, c-moll.

G.p. dramatic. This theme is related to the dramatic themes of Tchaikovsky and Taneyev.

P. p. 1 theme of hymn, chorale character, Es-dur . Does not play a special role in the development of the symphony. 2 theme contemplative, refined.

Scriabin tried to build a classical form. The 2nd theme of the p.p. plays a big role in the development, it has leitharmony, altered D.

Salary in Es-dur . Heroic. At the edge of the form, the theme of the introduction arises.

Development. 3-part cycle without interruption. It has 3 sections. The great role of polyphony. Starts at g-moll . Section 1 develops the themes of the exhibition: p.p., z. p. menacing collapse. Section 2 The origin of the theme of the 2nd movement is from the clarinet and muted violas. Here, too, the g.p. develops and leads to the climax. Section 3 The theme of pleasure from part 2 sounds in the solo violin. The violin solo is a timbre of the highest sophistication, a premonition of happiness.

Reprise. Beginning a masterpiece of polyphonic art. 3 themes are combined: in the upper voice there is a g.p., in the middle there is a theme of 2 parts, and in the bass there is a 2nd theme of the p.p.

Before the coda there is a large section devoted to the theme of the introduction.

Code , as the second development. All topics are covered. It starts with the 2nd theme of the p.p. for the flute, the theme of the 2nd part for the muted horns sounds tragic. Section 2 begins with g. p. Section 3 the theme of g. p. sounds in a fast, breathless rhythm. All topics follow from the theme of the introduction.

Part 2. "Pleasures." The music is full of languor. Sonata form.

G.p. originated in the development of part 1. The theme itself came from the theme of the introduction.

P. p. originated in the middle of the main topic. The entire second part is permeated by the fanfare motive of the introduction.

middle part the impression of sounding nature. It penetrates the reprise.

Transition between parts 2 and 3 vivo , flowing into part 3.

Part 3. "Divine Game" Laconic sonata form, with a large hymnic coda. A feeling of complete freedom.

G.p. at the pipe. Transformed intro theme. Pipe entry element.

P. p. more melodious. In Part 3, the leitmotif of the entire symphony continues to sound. Go to code. The idea is borrowed from the finale of Beethoven's 9th symphony. Themes from parts 1 and 2 are also covered. First, the topic of g.p., p.p. from part 2, h. n. final.

The code itself the general culmination of the entire symphony. The pipes have a 2-part gas line. The theme of the introduction frames the entire symphony. C-dur.

Aleksandra Nikolaevich Skryabin (1871/72–1915) - Russian composer, pianist, teacher. His father was a diplomat, his mother a pianist. He studied at the Moscow Cadet Corps (1882–89). Musical talent manifested itself early. He took piano lessons from G. E. Konyus and N. S. Zverev. In 1892 he graduated from the Moscow Conservatory, piano class with V. I. Safonov, and also studied with S. I. Taneyev (counterpoint) and A. S. Arensky (composition). He gave concerts in Russia and abroad and was an outstanding performer of his own compositions. M.P. Belyaev provided him with significant support (he published the works of the young composer and subsidized his concert trips). In 1904–10 (with a break) he lived and worked abroad (in European countries, and also toured the USA). He was engaged in teaching activities: in 1898–1903 he was a professor (piano class) at the Moscow Conservatory, and at the same time taught in music classes at the Catherine Institute in Moscow. Among the students: M. S. Nemenova-Lunts, E. A. Bekman-Shcherbina. Scriabin is one of the largest representatives of artistic culture of the late 19th and early 20th centuries. The works include piano and symphonic genres. In the 90s created preludes, mazurkas, etudes, impromptu, 1st–3rd sonatas for piano, concerto for piano and orchestra, in the 1900s. - 3 symphonies, 4th–10th sonatas and poems for piano (including “Tragic”, “Satanic”, “To the Flame”), as well as such symphonic works as “Poem of Ecstasy” (1907), “ Prometheus" ("Poem of Fire", 1910) is a landmark work of the late period of creativity. Scriabin's music reflected the rebellious spirit of his time, the anticipation of revolutionary change. It combines a strong-willed impulse, intense dynamic expression, heroic jubilation, a special “flight” and refined spiritual lyrics. In his work, Scriabin overcame the ideological inconsistency inherent in his theoretical philosophical concepts (around 1900 Scriabin became a member of the Moscow Philosophical Society and occupied a subjective idealistic position). Scriabin’s works, which embodied the idea of ​​ecstasy, a daring impulse directed towards unknown cosmic spheres, the idea of ​​the transformative power of art (the crown of such creations, according to Scriabin, was to be “Mystery”, which unites all types of art - music, poetry, dance, architecture , as well as light), are distinguished by a high degree of artistic generalization and the power of emotional impact. Scriabin's work uniquely combines late-romantic traditions (the embodiment of images of an ideal dream, the ardent, excited nature of the statement, a tendency towards a synthesis of arts, preference for the genres of prelude and poem) with the phenomena of musical impressionism (subtle sound coloring), symbolism (images-symbols: themes of “will” , “self-affirmation”, “struggle”, “longing”, “dream”), as well as expressionism. Scriabin is a bright innovator in the field of means of musical expression and genres; in his later compositions, dominant harmony becomes the basis of the harmonic organization (the most characteristic type of chord is the so-called Promethean chord). For the first time in musical practice, he introduced a special part of light (“Prometheus”) into a symphonic score, which is associated with an appeal to colored hearing. Scriabin's work had a significant impact on piano and symphonic music of the 20th century. The ideas of synthesis of music and light were further developed. In 1922, a museum was organized in the premises of Scriabin’s last apartment in Moscow.

Essays: For orchestra - 3 symphonies (1900–04, 3rd - Divine Poem), symphonic poems Dreams (1898), Poem of Ecstasy (1907), Prometheus (Poem of Fire; with piano and choir, 1910); concerto for piano and orchestra (1897); For piano - 10 sonatas (1892–1913), 29 poems, 26 etudes, 90 preludes (including 24 preludes op. 11), 21 mazurkas, 11 impromptu songs, waltzes, etc.

Alexander Nikolaevich Scriabin

The biblical legend of the Tower of Babel says that when people wanted to reach heaven, they were separated as punishment. Alexander Scriabin made an attempt to unite humanity and comprehend the universal essence, but a fatal accident interrupted his life in a matter of days, similar to a flaming comet. Russian composer, an exceptional personality, who was called a genius even by those who were not supporters of his bold innovative ideas. Being a representative of symbolism and possessing an ear for color and tone, he was the first to introduce the concept of “light music”.

Read a short biography of Alexander Scriabin and many interesting facts about the composer on our page.

Brief biography of Scriabin

Alexander Nikolaevich Scriabin was born in Moscow on December 25, 1871. His father was a diplomat, his mother a pianist. Shura was one year old when his mother, Lyubov Petrovna, died of consumption. The boy's upbringing was carried out by his father's family - his grandmother and aunt, Lyubov Alexandrovna, who became his first music teacher.

Despite the fact that his father constantly worked in foreign diplomatic missions, they maintained a warm correspondence all their lives, and Alexander Nikolaevich tried to visit his father at his place of service at the first opportunity. From Scriabin's biography we learn that at the age of 5 Shurinka, as his loving relatives called him, knew how to play the piano. At the age of 10, he was sent to the Moscow Cadet Corps, while studying there, he did not give up piano lessons and studied music theory.

Intensive studies yielded results - Shura entered the conservatory in composition and piano classes, but graduated only as a pianist. The reason is simple - he did not get along with the composition teacher and was expelled from his class. Planning a career as a pianist, Scriabin rehearses a lot, takes on difficult things and overplays his right hand. S.I. Taneev, who knew Sasha Scriabin from an early age, helped organize a trip to Germany and Switzerland for treatment. The hand has indeed restored the basic functions in order to play the instrument. The kind genius of Taneyev helped the composer publish his first compositions. In addition, he recommended Scriabin to one of the largest patrons of M.P. Belyaev, who was absolutely delighted with his works, became their exclusive publisher and assigned the young man an impressive fee.

In 1897, Alexander Nikolaevich married pianist Vera Ivanovna Isakovich. The young people spent the winter of 1897/98 abroad, where Scriabin wrote and performed his works in concerts. In 1898, their first daughter, Rimma, was born, and over the next 4 years they had two more daughters and a son. Since that time, Scriabin has been a professor at the Moscow Conservatory.

The youngest son was barely a year old when Scriabin left the family for Tatyana Feodorovna Shlozer. Despite the fact that the second union lasted until the end of his life, Vera Ivanovna never gave her husband a divorce, and three children from Schlötzer bore their mother’s surname. From 1903 to 1909, Scriabin and his family lived in Italy and Switzerland, then returned to Moscow. The composer was 43 years old when blood poisoning developed from an unsuccessfully opened boil. A week later, on April 14, 1915, Alexander Nikolaevich passed away.

Interesting facts about Scriabin

• The composer was the personification of what is called a creative nature - impractical and inattentive. Checking the accuracy of the notes of his compositions at the piano, he played the music that his inner ear told him, not paying attention to inconsistencies in the musical text. A.K. helped the composer with proofreading the works. Lyadov. Several of Scriabin's concerts in Paris did not take place due to the fact that he was unable to resolve contractual issues. And Schlozer forgot to put stamps on his secret love letters to Tatyana, so they were received and paid for by the girl’s relatives, who disapproved of her relationship with a married man.
• Since the late 1890s, Scriabin has become close to the philosopher S.N. Trubetskoy, whose worldview I completely share. The only exception is that Trubetskoy believed that love is omnipotent and is the basis of everything (“God is love”), and Scriabin believed that art is such.
• At a certain moment, Scriabin realized that he was the Messiah, he was destined for a special path to save humanity through art. This was partly facilitated by the date of his birth - December 25.
• Scriabin entered into a lease agreement for an apartment on Arbat for three years. The term expired on April 14, 1915, the day of his death.

• In the finale of the Seventh Sonata, the composer placed a chord of 25 notes. Three pianists are needed to play it accurately.
• "Prometheus" was chosen to be performed at a concert marking the first anniversary of the revolution on November 6, 1918.
• Based on the composer's music, in 1962 Kasyan Goleizovsky staged the ballet Scriabiniana at the Bolshoi Theater.

Two wives of a musical philosopher

Scriabin's personal life was quite dramatic - the parents of his first love, Natalya Sekirina, did not consent to their marriage. The same thing happened with his second bride. The composer deeply experienced the breakdown of this relationship when he met Vera Ivanovna Isakovich. Scriabin's biography says that in 1897 they got married, and three daughters and a son were born in the marriage. His wife became his faithful friend and constant promoter of his work, but the composer did not experience romantic feelings for her. They suddenly flared up to his 19-year-old student, Tatyana Fedorovna Schlötser, who treated him with adoration and followed him during his travels around Europe. When Scriabin and his family moved to Switzerland, he had already decided to leave his wife and even rented a villa nearby for Schlözer. The latter spent days with them and tried in every possible way to offend Vera Ivanovna. Scriabin's circle, before whose eyes the drama of the love triangle unfolded, disapproved of the composer's new passion. A final conversation took place between the Scriabins, and Alexander Nikolaevich left his wife.

Paris, where the couple initially settled, soon turned out to be too much for them, and they moved to the Italian town of Bogliasco, where they rented three rooms in a house near the railway. Advances and prizes from St. Petersburg patrons almost entirely went to support the first family. It happened that a couple ordered one lunch for two. Soon Tatyana Fedorovna became pregnant, which Scriabin informed his abandoned wife about. In the summer of 1905, he suffered his first loss - his 7-year-old daughter Rimma died. The grief-stricken father goes to Switzerland for the funeral, and the extremely jealous Schlözer bombards him with letters, complaining about his health and begging him to return. There is a fear in her that grief will bring the former spouses closer together. This did not happen; Scriabin returned to Bogliasco, where his daughter Ariadne was born in the fall.

Even after the birth of a child from her rival, Vera Ivanovna categorically refused to give a divorce, dooming both Tatyana Feodorovna and her children to a powerless and scandalous existence. In addition, Scriabina returned to her profession, starting active concert and teaching activities. She often performed Scriabin's music, always emphasizing that she was his wife, which was extremely painful for all other participants in this family battle, including the composer himself.

In 1908, his son Julian was born, and in 1910, the composer’s eldest son, seven-year-old Lev, died. This time, even this reason did not become a reason for meeting with his ex-wife, despite the fact that they both already lived in Moscow. In 1911, daughter Marina was born. There was always not enough money in the house, Scriabin wrote a lot of piano pieces in order to somehow make ends meet, his wife copied the notes. The sudden death of Scriabin left the family facing financial ruin. The last thing he managed to do on the eve of his death was to sign a petition addressed to the emperor for the adoption of children from his second marriage. Vera Ivanovna did not interfere with this. So, in 1915, all three received the right to bear their father’s surname. This permission did not concern Tatyana Fedorovna.

Julian was an extremely musically gifted child, and his mother tried to make him a creative heir and continuer of his father’s work. In Moscow, the boy studied at a music school, then at the age of 10 he entered the Kyiv Conservatory. He managed to complete only one course; in the summer of 1919, Julian drowned in the Dnieper. Crushed by grief, Tatyana Fedorovna outlived her son only by 3 years, dying in 1922 from inflammation of the brain.

Daughter Ariadne gave birth to 4 children, was a member of the French resistance during World War II and died in Nazi-occupied Toulouse when she failed to appear at a safe house in 1944. Daughter Maria became a famous theater actress.

Works of Alexander Scriabin

There is no pianist in the world who does not perform Scriabin’s works. The composer's legacy is extensive - 10 sonatas, more than 100 piano preludes, nocturnes, poems, 5 symphonies.

According to Scriabin’s biography, by the time he graduated from the conservatory, the young composer’s creative list already included two dozen works. One of the most popular to this day is Etude in C sharp minor. The mid-90s were about overcoming problems with my right hand. During this period such unique works as Prelude and Nocturne for left hand. At the same time, the composer’s creative credo was formulated - the unity of the human creator and the spirit of the universe, faith in the ability of art to transform people. It's foreplay time. The composer had the idea to write preludes in each key. Ultimately, there were 47 of them. They were published by Belyaev’s publishing house in 1897. On January 3, 1896, Alexander Nikolaevich gave his first foreign concert - in Paris, a few days later Brussels, Berlin, Amsterdam, The Hague and Cologne were waiting for him. The public received the new author enthusiastically, and the critics burst out with approving reviews - Scriabin’s unusual talent was interesting. By the end of the 19th century, Scriabin's works were included in the repertoire of the country's leading pianists. His Third sonata sums up the results of the first stage of creative activity. Developing talent requires greater self-expression. Thus, with the new century comes the symphonic period in the composer’s work.

Symphonies Scriabin is not only music, it is symbolism and philosophy. From 1900 to 1903, the composer wrote 3 symphonies. The first - formed the unique Scriabin style - his filigree elaboration of details, the thematic connection of all parts. For the first time, this work was not performed in full, as it had a complex choral part, the text for which was written by the author himself. After the publication of the notes of the Second Symphony ON THE. Rimsky-Korsakov called Scriabin “a great talent.” The third symphony, entitled " Divine Poem", is considered the pinnacle of the composer's creativity. The program for the work, which tells about the development of the human spirit, was written by T. Schlözer. The symphony premiered in Paris in 1905.

As soon as he handed over the rewritten notes of the Third Symphony to the publishing house, Scriabin became interested in the idea of ​​the next work - “ A poem of ecstasy" Work on it took place during the most dramatic period of the composer’s life, full of love, passion and erotic impressions, which are heard in this music. This work also has the author's poetic text. The world premiere took place in New York in 1908, and the Russian premiere a few months later. The following years were filled with concert work; the composer composed relatively little, preparing for his next large-scale creation - the symphonic poem “ Prometheus"(Poem of Fire).

The legend of Prometheus fit perfectly into Scriabin’s worldview concept of the greatness of human forces that conquer darkness, just as the light of fire defeats it. “Prometheus” is not a programmatic work, it is a poem of an image. Scriabin formulated a theory about the connection between color and sound and embodied it in his last symphonic work. The "Poem of Fire" score has an additional line of music for the Luce light instrument. In addition to him, the performance involves a large orchestra with an organ and solo piano, and a choir singing without words. The premiere took place in 1911 in Moscow, but without lighting accompaniment, since the chamber instrument did not work for a large hall. In 1915 in New York, Prometheus was performed as the author had intended, although not without technical difficulties that left the audience somewhat disappointed.

Of the master's latest works, two sonatas attract attention - Seventh (“White Mass”) And Ninth (“Black Mass”). The latter is permeated with infernal images and the theme of death. At the end of his life, Scriabin was working on “ Mystery" - a unique multicultural event for the orchestra, lights and 7,000 singers. The “Mystery” was to take place in a temple specially built for it on the banks of the Indian Ganges. In preparation for this project, the composer creates sketches of the “Preliminary Act”, for which he also writes the text.

Such a vivid biography as Scriabin’s is rare and is quite worthy of its cinematic embodiment. However, in more than a hundred years since the death of the composer, not a single biographical film has been created about him. On the other hand, the name Scriabin already belongs to eternity, so future generations will be able to express the world of his amazing talent in the language of cinema.

The composer's music was used as soundtracks in only a few films, the most famous of which are: Thank you for the chocolate (2000), Madame Suzacka (1988), Drunk (1987).

There are few people in the creative world whom even their contemporaries and colleagues would call geniuses. Scriabin was one of them. The genius of his writings was recognized even by those who did not understand his aesthetics. The composer was called a symbolist, but his life itself became a symbol of rising above everyday life and finding lofty poetic images in its prose.

Video: watch a film about Alexander Scriabin

Scriabin's path from his early plays of the late 80s to his final 74th opus covers a little more than a quarter of a century. Already one comparison Waltz (op.1) with the mentioned last notebook of Scriabin...speaks of the amazing intensity and swiftness of his not very long creative life. With this swiftness, this whirlwind movement towards the new, which ended in April 1915, like other “flight” themes of his compositions - with all this feverishness of his being, Scriabin was noticeably different from the musicians of his contemporaries. A similar point of view is expressed by I. Brodova in her study “The Evolution of the Musical Form of A.N. Scriabin’s Piano Preludes.” The author, in particular, writes that the work of this composer was an unprecedented example of “...an unusually concentrated evolution of musical thinking” Brodova I. The evolution of the musical form of piano preludes by A.N. Scriabin. - Yaroslavl, 1999. - P. 6. In a short period of time, the composer made a huge qualitative leap from salon pieces close to Chopin, Tchaikovsky, Lyadov, to works of the expressionist type.

If we analyze the musical language of Scriabin’s early piano works (for example, 24 Preludes, op.11) and compare it with the work of the late period of creativity (for example, 5 Preludes, op.74), then one can think without exaggeration that these two works do not belong to the same composer. Scriabin's works of the mature and late periods demonstrate a completely different style. Early works are a world of inspired lyricism, sometimes restrained, concentrated, elegant (for example, early piano preludes are op.11, 1888-96; op.13, 1895; op.15, 1895-96; op.16, 1894-95; op.17, 1895-96; op.22, 1897-98, mazurkas, waltzes, nocturnes), then impetuous, violently dramatic (especially vividly represented in Study op.8, № 12, dis-moll And Piano Prelude op.11, № 14, es-moll). In these works, Scriabin is very close to the atmosphere of romantic music of the 19th century. The musical fabric of the early works is light, transparent, the harmony fits into the late romantic framework, based on functionality (for example, Scriabin often uses classical tonic-subdominant, tonic-dominant turns; a typical feature of early Scriabin is starting the second sentence as the second link of the sequence in relation to the first , but in a subdominant key). The harmony of the early period is characterized by cadences - Scriabin often has such cadences.

But already in the musical language of the early works the features of the mature Scriabin style are formed. For example, combining the dominant and Neapolitan triads leads to the appearance of a small non-chord with a low fifth. It is precisely the attraction to the dominant function, especially to complicated altered dominants (with a split fifth) that distinguishes Scriabin’s style of the mature and late periods.

In the works of the mature period of creativity ( Poems op.32) elliptical dominant chains are still resolved into the tonic; along with the above tritone link, there are traditional fifth dominant chains. In the works of the later period ( Riddle, Poem of Longing, op.52, No. 2 and 3; Wish And Weasel in dance, op.57, No. 1 and 2; Etude op.65, № 3; Preludes op.74) the dominant constantly replaces the tonic, creating a feeling of tonal instability. Largely thanks to these new harmonies, Scriabin’s music is perceived by listeners as “a thirst for action, but ... without an active outcome” (B.L. Yavorsky). She seems to be drawn towards some unclear goal. Sometimes this attraction is feverishly impatient, sometimes more restrained, allowing one to feel the charm of longing. And the target most often eludes, it moves whimsically, teasing with its proximity and changeability, it is like a mirage. This peculiar world of sensations is undoubtedly associated with the thirst to know the “secret”, characteristic of Scriabin’s time.

Throughout all periods of the composer's work, some stable moments stood out that determined Scriabin's unique style. On the other hand, the ascent from work to work was so intense that almost every new work by Scriabin was perceived as a qualitatively new phenomenon.

The periodization of Scriabin's creative path is complicated by the continuity and speed of his evolution, the close succession of individual stages of development. This is probably what explains the fact that there are several points of view on this problem. For example, D. Zhitomirsky identifies the following four periods.

In the first period (80-90s), Scriabin was primarily a lyricist of a chamber type. From the very beginning, Scriabin’s work takes on a very definite direction: almost exclusively from the need for a personal statement, to record emotional movements. It was at this time that the largest Russian composers of different generations, according to D. Zhitomirsky, experienced “...increased interest in music of a lyrical nature...” Zhitomirsky D. Scriabin // Music of the 20th century. Ch. 1. Book. 2. - M., 1977. - P. 88. In the chosen direction, the young Scriabin clearly shows his creative orientation and his own taste. Unlike most of his contemporaries, he focuses his interests almost exclusively on instrumental music. But even in this area, the composer discards everything except piano music, which is later joined by symphonic music. Of the genres of piano music, not all genres that had become commonplace by that time were cultivated. Scriabin is not attracted to the type of characteristic or landscape-lyrical play, of which Tchaikovsky, Arensky, and A. Rubinstein had many. Scriabin limits himself to Chopin’s selection, and step by step he “corrects” this selection. Thus, there was only a single attempt to write Polonaise(op.21, 1897). Interest in the genres of mazurka, waltz, etude, nocturne, impromptu, and prelude was more stable. The frequent appeal to such genres as the prelude or etude is apparently due to the fact that they, like Scriabin’s favorite genre of the poem, least constrained the composer with traditional formulas. The general tendency of the young Scriabin's work in his attitude to genres can be defined as the desire for maximum lyrical freedom and unfettered individualization. But already at this time the range of images is expanding, the need for broad concepts and a new increased power of expression is growing. These trends are clearly embodied in the Third Sonata (1897-1898), which can be considered Scriabin’s first landmark work. At the same time, this period often passed in search of one’s purpose. According to I. Brodova, Scriabin, almost at the very beginning of his creative career, managed to find the genre in which his talent most fully developed. And this genre became prelude. This is probably why it is no coincidence that during this period Scriabin created the largest number of preludes (in the middle period he wrote 27, and in later years - only 8 works of this genre).

The significance of the first period in the evolution of Scriabin's style is emphasized in many works. So, in particular, E. Meskhishvili writes that it was at this time that “... genre lines are determined, types of images are formed... The range of emotions is varied, there are many smooth melodies... This period... is subject to various influences - mainly Chopin, Liszt, Tchaikovsky." Meskhishvili E. Scriabin's piano sonatas. - M., 1981. - P. 17.

The predominant content of the plays is subtle, often elegiac lyricism of an elegant salon type. The other group consists of works of a more dramatic, pathetic nature. At the same time, Scriabin strives to master the sonata form. Here we can call youthful Sonata-fantasy, gis-moll (1886), Sonata es minor, and Fantasia for piano and orchestra(1889). The unifying point for these works and for the period as a whole is the influence of Chopin. Due to the fact that the Sonata Fantasy is Scriabin’s first work in the field of sonata form, it is worth telling about it in more detail.

Sonata-fantasy, gis-moll consists of two parts following each other without interruption - Andante 6 / 8 and Allegro vivace 6/8. Moreover, the first part is written in a simple three-part form, and the second in a sonata form. According to I. Martynov, the desire for clarity of detail and clarity of form, characteristic of Scriabin’s mature style, is already noticeable in this work I. Martynov. About music and its creators. - M., 1980. - P. 92. Sonata Fantasia, continues the researcher, is also notable for the clarity and purity of voice production.

This work reveals such characteristic features of the early Scriabin style as the desire for sharp arrests and passing tense dissonances, and a wide arrangement of polyphonic chords.

It is known that in the composer’s mature work several types of melodic formations emerged, associated with a certain range of emotions. Such, for example, is a group of powerful, decisive themes that symbolize will. Also noticeable are the themes of “languor”, which are mesmerizing with the softness of their sound. In general, sound symbolism is a characteristic feature of Scriabin’s music. The symbolic principle finds its full reflection in the middle and late periods of creativity, but its elements are already found in the early works of the author of Prometheus. In his works there are often short chromatic progressions that rush towards the upper reference sound. These melodic turns usually express “...unclear languor...” Martynov I. Quote. cit., p. 100 . Anticipation of such revolutions is already found in Sonata-fantasy gis-moll.

The second period is the time from the Third Sonata to the Third Symphony (1903-1904), when large-scale artistic and philosophical concepts come to the fore. A distinctive feature of the middle period (1900-1908), as I. Brodova notes, is active work in the field of symphony. In addition, it was at this time that Scriabin turned to the genre of piano poem. The composer's interest in philosophical issues is growing.

Became a milestone Third Piano Sonata("States of Mind"; 1897-98). In the lyrical and philosophical commentary that preceded it, for the first time a sketch of a comprehensive ethical and aesthetic concept was given, which would form the basis of the figurative structure of all subsequent works of Scriabin and become the core of creative quests. Its essence was an unshakable faith in the transformative power of art: having led a person through the stages of the “biography of the spirit”, forcing him to experience the main “states of the soul” - from chaos and despair, disbelief and oppression through hope and the all-consuming flame of struggle - art can lead him to freedom and light, to the joyful rapture of the “divine play” of creative forces. To embody the “biography of the spirit” in musical sounds - not as a static sequence of captured “states” (“from darkness to light” is the usual emotional scheme of countless symphonic and sonata cycles, starting with L. Beethoven), but in the form of a living, constantly changing colors, a solid flow of feelings, unprecedented in variety and intensity - this is what now becomes Scriabin’s creative super-task, the first attempt to solve which was the Third Sonata, with its movement from the gloomy dramatic images of the first part through the refined lyrics of “vague desires, inexpressible thoughts” in the middle parts to the heroism of the struggle and the solemn step of the finale.

Persistent and intense philosophical quests continue in 1898-1903. Scriabin teaches piano at the Moscow Conservatory and teaches music classes at the Catherine Institute. Living in Moscow, he becomes close to S.N. Trubetskoy and becomes a member of the Moscow Philosophical Society. Communicating with V.Ya. Bryusov, K.D. Balmont, Vyach.I. Ivanov, masters the worldview of the Symbolists, becoming more and more firmly convinced of the magical power of music designed to save the world. At the same time, he feverishly searches for new means of musical expression and artistic forms that could embody the ideas and images that beset him. Turning to the orchestra, he quickly creates a number of symphonic works (including two symphonies), “on the fly” comprehending the secrets of timbres, polymelodic and polyrhythmic combinations, the art of constructing large-scale forms, the individual parts of which are increasingly closely connected by thematic connections, and the internal facets under the pressure of new harmonies and rhythms they become more and more unsteady, opening the way for the continuous flow of music. He is particularly concerned about endings, in which images of joy and freedom are concentrated. He was not satisfied with either the pomp of the finale or the triumphant power. Scriabin associated the ultimate joy of a free spirit not with a solemn step, but rather with the euphoria of an ecstatic dance, the tremulous play of flames, and a dazzling light.

He achieved what he wanted for the first time in the genre of poetry. Scriabin's first poems were for piano, these are two poems op.32. Piano sonatas starting with Fourth sonata(1901-03) are essentially poems, although the composer himself does not give them that name. In his mature and late periods, Scriabin increasingly turned to the genre of the poem: Tragic poem(op.34), Satanic poem(op.36, 41, 44 ), Poem-nocturne(op.61), poem " To the flame"(op.72). Along with piano works, poems for symphony orchestra appear - these are Third Symphony ("Divine Poem", 1903-04), and Poem of Ecstasy(op.54), and Prometheus. The flow of music (three parts, performed without interruption), saturated with strong-willed activity and rapid energy, in one breath lifts the listener from the first, darkly affirmative bars to the radiantly joyful dance of the Finale.

Sonata No. 4(op.30) is new for Scriabin in a compositional sense. The two-part cycle is actually one-part. As L. Gakkel believes, “...the point...is not the transition attacca from part to part and not in the tonal identity of the parts, but in the unity of thematic and texture; the first and second parts are correlated like two circles, two turns of a spiral..." Gakkel L. Piano music of the twentieth century. - L., 1990. - P. 52. The spiral form gradually crystallizes: the music rises higher and higher in circles of emotional tone, maintaining unchanged its own thematic material. This “composition of flaring up” (L. Gakkel’s term) will become a feature of Scriabin’s work, a special Scriabin word in the evolution of music. In any case, as the author further writes, in Fourth sonata the so-called “first” and “second” parts are not “introductory” and “final”, here it is precisely a spiral: two large turns, Andante, Prestissimo volando and three more small turns inside the first two.

The thematic theme of the sonata is compact. Beginning with the Fourth Sonata, Scriabin's music accelerates its movement towards a thematic formula, right up to a thematically interpreted interval. At the same time, in this work the sound fabric tends to be holistic: the pitch composition of the horizontal and vertical, thematically significant and background voices is similar.

There is much that is typical in the pianistic texture of the sonata, but there are also innovations. Of the traditional romantic means, texture stands out " a trios mains" ("three hands") in the reprise of the first part: the melody is in the center of the sound whole, harmonic backgrounds at the edges. A similar textural technique is found in the works of F. Liszt. The Scriabin trait itself is manifested in the texture of the climax ( Prestissimo, from t.144).

Researchers call this texture “ecstatic.” It is in the climax of the Fourth Sonata that the upper case as a symbol is also revealed for the first time. With regard to the lower register, it is worth noting that its role in Scriabin’s works is changing. Of course, in this work he leaves room for quite traditional harmonic basses ( Prestissimo, vols. 21-29), but the main thing is the colorful interpretation of the register. Scriabin's bass ceased to be a harmonic and rhythmic support, and the low register also lost its supporting function. The support is increasingly being made of harmonic figuration, closed by a pedal ( Prestissimo, vols.66-68).

Scriabin tries to avoid sharp edges in everything - in rhythm, in registration, in dynamics. The so-called “wave” becomes a symbol of the composer’s sense of sound, which consists in particular in the fact that the voices of the textured fabric move in one direction. The dynamics also correspond to the image of the wave: short ups, short downs, local climaxes and other techniques.

Scriabin's utopian philosophical concept manifests itself especially clearly in the mature period of his creativity. At this time, the composer persistently studied the history of human thought - from I. Kant and F. Schelling to F. Nietzsche and E.P. Blavatsky, from the mystical teachings of the Ancient East to Marxism - and intense searches in the field of musical language, which is becoming more and more individualized.

Scriabin was interested in the concept of “universum”, the meaning of the “absolute” in subjective consciousness, in other words, the meaning of that spiritual principle, which Scriabin understood as “divine” in man and in the world, made Schelling’s teaching about the “world soul” especially attractive to him. Scriabin tried to resolve the problems that worried him in his work and build his own artistic model of the world. In essence, Scriabin was impressed by everything in which he felt the spirit of freedom, the awakening of new forces, where he saw movement towards the HIGH LIGHT. Philosophical readings, conversations and debates were a process of stimulating thought for the composer; he was drawn to them by that never-satisfied thirst for universal, radical truth about the world and man, with which the ethical nature of Scriabin’s work is inextricably linked.

The third period is the time from the Third Symphony to Prometheus (1904-1910). It is characterized by the complete dominance of the composer's main romantic-utopian idea ("Mystery") and the final formation of a new style.

Sonata No. 5 op.53, as L. Gakkel writes, cannot be considered an ideal example of Scriabin’s late creative work on form, or even an example of it. As the scientist notes, “... all of Scriabin’s late sonatas are designed in the canonical scheme of sonata allegro, which does not prevent them from embodying the idea of ​​“material” and “spiritual” ...” Gakkel L. Piano music of the 20th century. - L., 1990. - P. 55 The decisive factors are dynamics, tempo, density of texture.Even Scriabin’s usual full reprise does not contradict the idea: this is a turn of a spiral, a flare-up of the emotional tone of the music.

The basis of the melody and harmony of this sonata is the non-chord. In addition, in this work the differences in registers are also leveled out, which was observed in Sonata No. 4. Among other features of the work, the nervous, flowing rhythm should be noted. Scriabin avoids even meters, using three- and five-beats as meters without sharp “strong-weak” contrasts.

The fourth period (1910-1915) is marked by even greater complexity of content. The role of gloomy, sternly tragic images is increasing; the music is increasingly approaching the character of a mystical sacred rite (the latest sonatas and poems). During these years, his fame and recognition grew. Scriabin gives a lot of concerts, and each of his new premieres becomes a significant artistic event. The circle of admirers of Scriabin's talent is expanding.

During these years, the “Mysteries” project was at the center of the composer’s interests, acquiring more and more specific outlines. The idea of ​​"Mystery" was suggested to him by Vyach. Ivanov, in essence, is nothing more than a “biography of the spirit” expanded to a cosmic scale. “Mystery” was thought of as a grandiose conciliar action taking place somewhere in India, in which people, the entire surrounding world, and all the arts (including “symphonies” of aromas, touches, etc.) were involved, led by music. The participants in the action seem to live through the entire cosmogonic history of the “divine” and the “material,” achieving an ecstatic reunion of “the world and the spirit,” and thereby complete liberation and transformation, which, according to the composer’s idea, should be the “last accomplishment.” Behind this essentially poetic vision was hidden the eternal thirst for a great “miracle,” Scriabin’s dream of a new era when man, having conquered evil and suffering, would become equal to God.

The pianistic style of the late period takes many features of the romantic “image of the piano” to the limit. The composer is looking for indefinite states of piano texture, or intermediate states between vertical and horizontal (linear sequences on the pedal, various types of vibrato), he deprives the lower layer of sound of traditional supporting functions. As V. Dernova notes, the last period of creativity “...presents significant difficulties for performance. The subtle and transparent texture requires ideal mastery of piano sonority, the inexhaustible variety of rhythm can only be conveyed by a musician with a particularly sensitive nervous organization...” Dernova V. Scriabin's Harmony. - L., 1968. - P. 113.

Etudes occupy a significant place in the composer’s creative heritage. In total, Scriabin created 26 works of this genre. If Lyapunov and Rachmaninov, in their interpretation of the concert etude, gravitated toward programmaticity and picturesqueness, then Scriabin wrote works that could be called “mood studies” or “experience studies” (D. Blagoy’s term).

Unlike Rachmaninov and Lyapunov, Scriabin in his etudes sought to clearly highlight the specifics of the genre and solve in artistic form certain problems associated with the development of pianistic skills among performers. Although already in the early period the young composer used synthetic methods of presentation, freely combining elements of small and large technique, finger passages and double notes, he wrote etudes specifically designed for mastering certain types of texture - various figurations in the parts of the right and left hands, thirds , sixth, octaves, chords. Based in this regard on the traditions of sketch literature of the 19th century, the author introduced a lot of new things into them. The originality of Scriabin's virtuosity gave a special quality to the traditional formulas of pianistic technique he used. Already in Op.8, many successions of octaves, chords, and thirds acquire an unusual tremulousness and create the impression of being in flight. The left hand is particularly mobile. It is characterized by frequent movements within the lower and middle register, coverage of a large sound field, and lightning-fast throws over wide intervals.

The cycle of etudes op.8 is one of Scriabin's greatest achievements in the field of pianism. The scope of imagery that he reveals in these sketches is very wide. Etude No. 9 is considered one of the most dramatic.

The impression of even greater originality is produced by the works of op.65 with their bold experience in the development of techniques for playing parallel nones, sevenths, fifths and the whole complex of expressive means of the composer’s later style of writing.