Thanks to what work did Scriabin become famous? Alexander Scriabin

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SKRYABIN, ALEXANDER NIKOLAEVICH (1872-1915), Russian composer and pianist. Born December 25, 1871 (January 6), 1872 in Moscow. After graduating from the Moscow Conservatory (where he studied, in particular, with A.S. Arensky and S.I. Taneev), Scriabin began giving concerts and teaching, but soon concentrated on composing. Scriabin's main achievements are associated with instrumental genres (piano and orchestral; in some cases - the Third Symphony and Prometheus - a choir part is introduced into the scores). Scriabin's mystical philosophy was reflected in his musical language, especially in innovative harmony, far beyond the boundaries of traditional tonality. The score of his symphonic Poem of Fire (Prometheus, 1909-1910) includes a light keyboard (Luce): rays of spotlights of different colors should change on the screen synchronously with changes in themes, keys, and chords. Scriabin's last work was the so-called. Preliminary performance for soloists, choir and orchestra - a mystery, which, according to the author's plan, was supposed to unite humanity (remained unfinished).

Scriabin is one of the largest representatives of artistic culture of the late 19th and early 20th centuries. A brave innovator, he created his own sound world, his own system of images and means of expression. Scriabin's work was influenced by idealistic philosophical and aesthetic movements. The bright contrasts of Scriabin's music, with its rebellious impulses and contemplative detachment, sensual yearning and imperative exclamations, reflected the contradictions of the complex pre-revolutionary era.

The main area of ​​Scriabin's creativity is piano and symphonic music. In the legacy of the 80s-90s. The genre of romantic piano predominates. miniatures: preludes, etudes, nocturnes, mazurkas, impromptu. These lyrical plays capture a wide range of moods and states of mind, from soft dreaminess to passionate pathos. The sophistication and nervous aggravation of emotional expression characteristic of Scriabin is combined in them with a noticeable influence of F. Chopin, and partly A.K. Lyadov. The same images prevail in the major cyclical works of these years: a piano concerto (1897), 3 sonatas (1893, 1892-97, 1897).

Scriabin's family belonged to the Moscow noble intelligentsia. The parents, however, did not have the chance to play a noticeable role in the life and upbringing of their brilliant son, born on January 6, 1872. His mother soon died of tuberculosis, and his father, a lawyer, spent a lot of time doing his own business. Sasha’s ear for music and memory amazed those around him. From an early age, he could easily reproduce by ear a melody he heard once, picking it up on the piano or other instruments that came to hand. But little Scriabin’s favorite instrument was the piano. Not yet knowing the notes, he could spend many hours at it, even to the point of rubbing the soles of his shoes with the pedals. “That’s how the soles burn, that’s how the soles burn,” his aunt lamented.

The time has suddenly come to think about Sasha’s general education. His father wanted him to enter the lyceum. However, the family gave in to the desire of everyone's favorite - to definitely enroll in the cadet corps. In the fall of 1882, ten-year-old Alexander Scriabin was accepted into the 2nd Moscow Cadet Corps.

Gradually, Sasha decided to enter the conservatory. Continuing his studies in the corps, he began to study privately with the prominent Moscow teacher N. Zverev.

In parallel with his studies with Zverev, Scriabin began taking lessons in music theory from Sergei Ivanovich Taneyev. In January 1888, at the age of 16, Scriabin entered the conservatory. At the same time, Scriabin was also accepted into the piano class. Here Vasily Ilyich Safonov, a major musical figure, pianist and conductor, became his teacher.

Very soon Scriabin, along with Rachmaninov, attracted the attention of teachers and comrades. Both of them took the position of conservative “stars” who showed the greatest promise. Alexander studied in Taneyev’s class for two years. Taneyev appreciated the talent of his student and treated him personally with great warmth. Scriabin responded to the teacher with deep respect and love. The works created by Scriabin during his studies were written almost exclusively for his favorite instrument. He composed a lot during these years. In his own list of his compositions for the years 1885-1889, more than 50 different plays are named. In February 1894, he performed for the first time in St. Petersburg as a pianist performing his own works. Here he met the famous musical figure M. Belyaev. This acquaintance played an important role in the initial period of the composer’s creative path.

Through Belyaev, Scriabin began relationships with Rimsky-Korsakov, Glazunov, Lyadov and other St. Petersburg composers.

In the mid-1890s, Scriabin's performing activities began. He performs concerts of his compositions in various cities of Russia, as well as abroad. In the summer of 1895, Scriabin's first foreign tour took place. At the end of December of the same year, he went abroad again, this time to Paris, where he gave two concerts in January.

Reviews from French critics about the Russian composer were generally positive, some even enthusiastic. His individuality, exceptional subtlety, and special, “purely Slavic” charm were noted. In addition to Paris, Scriabin also performed in Brussels, Amsterdam, and The Hague. In subsequent years he visited Paris several times. At the beginning of 1898, a large concert of Scriabin’s works took place here, in some respects unusual: the composer performed together with his pianist wife Vera Ivanovna Scriabin (née Isakovich), whom he had married shortly before. Of the five sections, Scriabin himself played in three, and Vera Ivanovna, with whom he alternated, played in the other two. The concert was a huge success.

In the fall of 1898, Scriabin accepted an offer from the Moscow Conservatory to take over the leadership of the piano class and became one of its professors.

Among the small works of these years, the first place is occupied by preludes and etudes. The cycle of 12 etudes he created in 1894-1895 represents the most remarkable examples of this form in world piano literature. The last etude (in D sharp minor), sometimes called “pathetic,” is one of the most inspired courageous and tragic works of the early Scriabin.

In addition to small-form pieces, Scriabin also created a number of large piano works during these years. He wrote his first sonata just a year after graduating from the conservatory. Important in Scriabin’s creative development is his Third Sonata. Here, for the first time, the idea that later formed the basis of his symphonic works was clearly embodied - the need for an active struggle to achieve a goal, based on an unshakable conviction in the final triumph.

At the end of the 1890s, new creative tasks forced the composer to turn to the orchestra, to which he devoted his main attention for a while. It was a period of great creative growth. He discovered the still undiscovered great possibilities hidden in his talent. In the summer of 1899, Scriabin began composing the First Symphony. It was mostly completed in the same year. The music of the symphony captivates with romantic excitement and sincerity of emotions. Following the First Symphony, Scriabin composed the Second in 1901, continuing and developing the circle of images outlined in its predecessor. At the end of the century, Scriabin became a member of the Moscow Philosophical Society. Communication there, together with the study of special philosophical literature, determined the general direction of his views.

These sentiments led him to the idea of ​​“Mystery,” which from now on became for him the main work of his life. “Mystery” was presented to Scriabin as a grandiose work that would unite all types of art - music, poetry, dance, architecture, etc. However, according to his idea, this was not supposed to be a purely artistic work, but a very special collective “action”, in which no less than all of humanity would take part! There will be no division between performers and listeners-spectators. The fulfillment of the “Mystery” should entail some kind of grandiose world revolution.

The idea amazed even the author himself with its grandeur. Afraid to approach him, he continued to create “ordinary” musical works. Less than a year after finishing the Second Symphony, Scriabin began composing the Third. However, its composition proceeded relatively slowly. But during several summer months of the same 1903, Scriabin wrote a total of more than 35 piano works, so great was the creative upsurge he experienced at that time.

In February 1904, Scriabin went abroad for several years. Scriabin spent the following years in various Western countries - Switzerland, Italy, France, Belgium, and also toured America. In November 1904, Scriabin completed his Third Symphony. An important event in his personal life dates back to this time: he separated from his wife Vera Ivanovna. Scriabin's second wife was Tatyana Fedorovna Shletser, the niece of a professor at the Moscow Conservatory. Tatyana Fedorovna herself had a musical background and at one time even studied composition (her acquaintance with Scriabin began through theory classes with him). But, admiring Scriabin’s work, she sacrificed all her personal interests for his sake.

In Paris on May 29, 1905, the first performance of the Third Symphony took place - it became a wonderful monument to Russian and world symphonic music of the early 20th century. Despite its pronounced originality, it has clear connections with the traditions of domestic and foreign music. After the performance of the Third Symphony, the composer began to work on the next largest symphonic work, the “Poem of Ecstasy,” which he initially called the Fourth Symphony. Elation and bright emotions attract attention in this poem, completed by the composer and written in 1907.

A year later, Scriabin conceived the idea of ​​the next major orchestral work - the poem “Prometheus”. The music of the poem was mainly in 1909.

The peculiarities of the plan led to non-standard means for implementation. The most unusual detail of the huge Prometheus score, reaching up to 45 lines, is a special line of music marked with the word “light”. It is intended for a special, not yet created instrument - a “light keyboard”, the design of which Scriabin himself imagined only approximately. It was assumed that each key would be connected to a light source of a certain color of life.

The first performance took place on March 15, 1911. “Prometheus” gave rise, as contemporaries put it, “fierce disputes, ecstatic delight of some, mockery of others, and for the most part, misunderstanding and bewilderment.” In the end, however, it was a huge success: the composer was showered with flowers, and for half an hour the audience did not leave, calling the author and conductor.

In the last two years of his life, Scriabin’s thoughts were occupied by a new work (still unfinished due to his death) - “Preliminary Action”.

As its name shows, it was supposed to be something like a “dress rehearsal” of “Mystery” - its, so to speak, “light” version. In the summer of 1914, World War I broke out. In this historical event, Scriabin saw, first of all, the beginning of processes that were supposed to bring the “Mystery” closer.

In Scriabin's symphonies there is still a noticeable connection with the traditions of the dramatic symphonism of P. I. Tchaikovsky, with the work of R. Wagner and F. Liszt. Symphonic poems are original works both in concept and in implementation. Themes acquire the aphoristic brevity of symbols denoting a particular state of mind (themes of “languor,” “dream,” “flight,” “will,” “self-affirmation”). In the mode-harmonic sphere, instability, dissonance, and exquisite spice of sound prevail. The texture becomes more complex, acquiring multi-layered polyphony. In the 1900s The piano also developed in parallel with the symphonic piano. Scriabin’s work, which embodies the same ideas, the same range of images in the chamber genre. For example, the 4th and 5th sonatas (1903, 1907) are a kind of “companions” of the 3rd symphony and the “Poem of Ecstasy”. The tendency towards concentration of expression and compression of the cycle is also similar. Hence, one-movement sonatas and piano poems are a genre that was of utmost importance in the late period of Scriabin’s work. Among the piano works of recent years, the central place is occupied by the 6th-10th sonatas (1911-13) - a kind of “approach” to the “Mystery”, a partial, sketchy embodiment of it. Their language and figurative structure are highly complex and somewhat encrypted.

Scriabin seems to be striving to penetrate the region of the subconscious, to record in sounds suddenly arising sensations and their bizarre changes. Such “captured moments” give rise to short symbolic themes that make up the fabric of the work. Often one chord, a two- or three-note intonation, or a fleeting passage acquires an independent figurative and semantic meaning. Scriabin's work had a significant impact on the development of piano and symphonic music of the 20th century.

This portrait of Scriabin at the piano and Koussevitzky at the conductor's stand was painted by Robert Sterl, a German friend of Russian composers. and in particular, Rachmaninoff, whom Sterl also wrote on several occasions.

In the first months of 1915, Scriabin gave many concerts. In February, two of his performances took place in Petrograd, which were very successful. In this regard, an additional third concert was scheduled for April 15. This concert was destined to be the last.

Returning to Moscow, Scriabin felt unwell a few days later. He developed a carbuncle on his lip. The abscess turned out to be malignant, causing general blood poisoning. The temperature has risen. In the early morning of April 27, Alexander Nikolaevich passed away.

A.N. was buried Scriabin at the Novodevichy cemetery.

Alexander Nikolaevich had seven children in total: four from his first marriage (Rimma, Elena, Maria and Lev) and three from his second (Ariadna, Julian and Marina). Three of them died in childhood, far from reaching adulthood. In his first marriage (to the famous pianist Vera Isakovich), out of four children (three daughters and one son), two died at an early age. The first (being seven years old) to die was the Scriabins' eldest daughter - Rimma (1898--1905) - this happened in Switzerland, in the holiday village of Vezna near Geneva, where Vera Scriabin lived with her children. Rimma died on July 15, 1905 in the cantonal hospital from volvulus.

Scriabin himself by that time lived in the Italian town of Bogliasco - already with Tatyana Schlötser, his future second wife. “Rimma was Scriabin’s favorite and her death deeply shocked him. He came to the funeral and wept bitterly over her grave.<…>This was Alexander Nikolaevich’s last meeting with Vera Ivanovna.”

Scriabin's eldest son, Lev was the last child from his first marriage; he was born in Moscow on August 18/31, 1902. Like Rimma Scriabin, he died at the age of seven (March 16, 1910) and was buried in Moscow in the cemetery of the Monastery of All Who Sorrow Joy on Novoslobodskaya Street (the monastery does not currently exist). By that time, Scriabin’s relationship with his first family was completely ruined, more reminiscent of the Cold War, and the parents did not even meet at their son’s grave. Of the two (long-awaited) sons of Alexander Nikolaevich Scriabin, only one, Julian, was still alive by that time.

Ariadna Scriabina converted to Judaism with her first marriage, married the poet Dovid Knut with her third marriage, with whom she participated in the Resistance movement in France, was tracked down by the Vichy police in Toulouse during a mission to transport refugees to Switzerland and died in a shootout on June 22, 1944 when attempting to arrest. A monument was erected to her in Toulouse, and on the house where A. Scriabina died, members of the Zionist Youth Movement of Toulouse erected a memorial plaque with the inscription: “In memory of Regine Ariadne Fixman, who heroically died at the hands of the enemy on 22--VII-- 1944, defending the Jewish people and our homeland, the Land of Israel."

The composer's son, Yulian Scriabin, who died at the age of 11, was himself a composer whose works are still performed today.

Alexander Nikolaevich's half-sister Ksenia Nikolaevna was married to Boris Eduardovich Bloom, Scriabin's colleague and subordinate. Court Counselor B. E. Bloom then served in the mission in Bukhara, and in 1914 he was listed as vice-consul in Colombo in Ceylon, where he was “seconded to strengthen the personnel of the political agency,” although he did not travel to the island. On June 19, 1914, in Lausanne, their son Andrei Borisovich Bloom was born, who, under the monastic name “Anthony,” would later become the famous preacher and missionary Metropolitan of Sourozh (1914-2003).

Prometheus (Poem of Fire) Op. 60-- musical poem (duration 20-- 24 minutes) by Alexander Scriabin based on the myth of Prometheus for piano, orchestra (including organ), voice (choir ad libitum) and “light keyboard” (Italian tastiera per luce), representing a disk on which twelve colored light bulbs with the same number of switches connected by wires were installed in a circle. When the music was played, the lights flashed in different colors.” Another of the innovative ideas used by Scriabin was the construction of a musical fabric from a single structure - a chord, which was later called “Promethean”.

The work was composed in 1908-1910. and was first performed on March 2 (15), 1911 in Moscow by an orchestra conducted by Sergei Koussevitzky. The premiere took place without a lighting party, since the apparatus was not suitable for performance in a large hall.

With the lighting part, Prometheus was first performed on May 20, 1915 in New York's Carnegie Hall by the Orchestra of the Russian Symphony Society conducted by Modest Altshuler. For this premiere, Altshuler ordered a new light instrument from engineer Preston Millar, to which the inventor gave the name “chromola”; The performance of the lighting part caused numerous problems and was coldly received by critics. According to press reports at the time, the public premiere was preceded by a private performance on February 10 in a narrow circle of selected connoisseurs, including Anna Pavlova, Isadora Duncan and Misha Elman.

In the 60-70s. interest arose again in performing Scriabin's work with a lighting part. In 1962, according to director Bulat Galeev, the full version of “Prometheus” was performed in Kazan, and in 1965. A light and music film was shot to Scriabin's music. In 1972, the performance of the poem by the USSR State Academic Symphony Orchestra under the direction of E. Svetlanov was recorded at the Melodiya company. On May 4, 1972, Prometheus was performed with lighting by the London Symphony Orchestra under the baton of Eliakum Shapira at the Royal Albert Hall in London. On September 24, 1975, the University of Iowa Symphony Orchestra, conducted by James Dixon, performed the poem for the first time, accompanied by a laser show designed by Lowell Cross (this concert was filmed and edited as a documentary film, and re-released on DVD in 2005).

Among the most notable recordings of “Prometheus” are performances by the Berlin Philharmonic Orchestra conducted by Claudio Abbado (piano part Martha Argerich), the Chicago Symphony Orchestra (conducted by Pierre Boulez, soloist Anatoly Ugorsky), and the Philadelphia Orchestra (conducted by Riccardo Muti, soloist Dmitry Alekseev) , London Philharmonic Orchestra (conducted by Lorin Maazel, soloist Vladimir Ashkenazy).

The premiere of the new symphonic work became the main event of Russian musical life. This happened on March 9, 1911 in St. Petersburg in the hall of the Noble Assembly, the same one that now belongs to the St. Petersburg State Philharmonic. The famous Koussevitzky conducted. The author himself was at the piano. It was a huge success. A week later, "Prometheus" was repeated in Moscow, and then sounded in Berlin, Amsterdam, London, and New York. Light music - that was the name of Scriabin's invention - fascinated many at that time; new light-projection devices were designed here and there, promising new horizons for synthetic sound-color art.

But even at that time, many were skeptical about Scriabin’s innovations - the same Rachmaninov, who once, while examining “Prometheus” at the piano in Scriabin’s presence, asked, not without irony, what color it was. Scriabin was offended.

This fragile, short man, who harbored titanic plans and was distinguished by his extraordinary capacity for work, possessed, despite a certain arrogance, a rare charm that attracted people to him. His simplicity, childlike spontaneity, and the open trustfulness of his soul were captivating. He also had his own little eccentricities - for many years he stroked the tip of his nose with his fingers, believing that in this way he would get rid of his snub nose, he was suspicious, was afraid of all kinds of infections and did not go out into the street without gloves, did not take money in his hands, and while drinking tea he warned not to picked up a dryer that had fallen from a plate from the tablecloth - there could be germs on the tablecloth...

Alexander Scriabin, the most unknown Russian composer, who managed to look into the highest transcendental spheres, had the rarest and most amazing gift - synesthesia, or “color hearing,” when music gives rise to color associations and vice versa, when color evokes sound experiences. Among Russian composers there is no other genius who would be as mystical as Alexander Scriabin. His creations are a sacred act, magic, whose mysterious formulas are woven into musical symbols.

SECRETS OF THE “PROMETHEAN CHORD” The esoteric plan of the “Poem of Fire” goes back to the secret of the “world order”. The famous “Promethean chord” - the entire sound basis of the work - is perceived as a “chord of the Pleroma”, a symbol of the completeness and mystery of the power of existence. The hexagonal “crystal” of the “Promethean chord” is similar to the “Solomon’s seal” (or that six-pointed one, which is symbolically depicted at the bottom of the cover of the score). In the “Poem of Fire” there are 606 bars - a sacred number that corresponds to triadic symmetry in medieval church painting, related to the theme of the Eucharist (6 apostles to the right and left of Christ). In “Prometheus” the proportions of the “golden section” are precisely observed. Particular attention to the final part of the choir. “Prometheus” for Scriabin meant a new stage in the embodiment of the principle of the Absolute in music.

“Prometheus” (“Poem of Fire”) occupies a special place in the work of Alexander Scriabin and is completely unique in the world space. It is not only a synthesis of music and light, but also an encrypted teaching, a fusion of hidden symbols and, probably, a new Bible consisting of sounds. This is total harmony, the embodiment of the theosophical principle “everything is in everything,” and the presence of hidden meanings in the poem is amazing.

The choice of the hero, the fire thief Prometheus, was not at all accidental for Scriabin: “Prometheus is the active energy of the Universe, the creative principle. This is fire, light, life, struggle, thought. Progress, civilization, freedom,” said the composer. He was obsessed with the idea of ​​creating world harmony out of chaos. But were angels or demons standing behind Alexander Scriabin when he wrote this poem? Scriabin was fascinated by fire. Not only the “Poem of Fire” was “fiery”. Alexander Nikolaevich also owns earlier works on the same topic: the poem “To the Flame” and the play “Dark Lights”. And in each of these creations, not only (and sometimes not so much) the life-giving fiery power was glorified, but also another, demonic hypostasis of the fiery element, carrying within itself an element of a magical spell and devilish spells.

All researchers of the composer's work agree that Scriabin's Prometheus bears the features of Lucifer. The composer’s striking statement is well known: “Satan is the yeast of the universe.” For Scriabin, Lucifer was not so much evil as... a “bearer of light” (lux + fero), a luminous mission. But what color was that “light” of Scriabin’s Prometheus-Lucifer? It turns out it's blue-purple. According to the composer’s light and sound system, the tonality F sharp, the main tonality of the “Poem of Fire,” corresponds to it. Surprisingly, the same blue-purple palette is present in the works of other mystics who metaphysically contemplated other spheres of existence: Vrubel’s demons are blue-purple, Blok’s famous “Stranger” is also permeated with blue-purple tones. The poet himself spoke of “The Stranger” as “a devilish alloy from many worlds, mainly blue and purple.” Daniil Andreev in his “Rose of the World,” when describing the devilish layers, resorts to the following descriptions: “lilac ocean,” “infralilac glow,” “a luminary of an unimaginable color, vaguely reminiscent of violet.”

Poem of ecstasy. A distinctive feature of Scriabin's work is the extraordinary intensity of spiritual development. Scriabin was not only a composer and pianist, but also a philosopher. He did not have a special philosophical education, but already from the early 1900s he took part in the philosophical circle of S.N. Trubetskoy, carefully studied the works of Kant, Fichte, Schelling, Hegel. But he didn’t stop in any of these directions. All this served only as a basis for his own mental constructions, which were reflected in his music. Over the years, the composer's philosophical views expanded and transformed, but their basis remained unchanged. This basis was the idea of ​​the divine meaning of creativity and the theurgic, transformative mission of the artist-creator. Under its influence, the content, the “philosophical plot” of Scriabin’s works is also formed. This plot depicts the development and formation of the Spirit: from a state of constraint to the heights of self-affirmation. Ups and downs in all musical manifestations are a characteristic feature of Scriabin's style. The principle of comparison and interpenetration of contrasts - grandiose and refined, active-willed and dreamily-languorous - permeates the dramaturgy of the composer’s symphonic works - the Third Symphony, “Poem of Ecstasy”.

Scriabin did not “specially” search for musical language. His language, which all his contemporaries unanimously recognized as innovative, was a natural manifestation for Scriabin, a worthy means for embodying the ideas that he wanted to convey to his listeners. “I’m going to tell people that they 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 powerful is the one who has experienced despair and defeated it,” the composer wrote in his diary. Scriabin Prometheus third symphony

Scriabin sees the idea of ​​transformation, the victory of the spiritual over the material in the following dramatic triad: languor - flight - ecstasy. These images and psychological states permeate not only the composer’s symphonic works, but also his piano miniatures, because Scriabin was the greatest pianist of his time, actively giving concerts all over the world.

Scriabin. Symphony No. 3, C minor, Op. 43, "Divine Poem"

Symphony No. 3 in C minor, Op. 43, "The Divine Poem"

03/18/2011 at 15:43.

Orchestra composition: 3 flutes, piccolo flute, 3 oboes, cor anglais, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tuba, timpani, tom-tam, glockenspiel, 2 harps, strings.

History of creation

At the end of the 1902-1903 academic year, Scriabin left his position as a professor at the conservatory, since teaching was a burden to him and did not give him the opportunity to fully devote himself to creativity. In the summer, at the dacha, he worked a lot. He entered into an agreement with the St. Petersburg philanthropist and music publisher M. Belyaev, according to which Belyaev paid the composer a monthly amount sufficient for the life of the family, and Scriabin covered these amounts by providing his works for publication. He was seriously in debt to the publishing house: the amount was so large that he had to compose thirty piano pieces to pay off. Meanwhile, the composer's thoughts were occupied with the new, Third Symphony.

The summer passed in intense work - the Fourth Sonata for Piano, the Tragic and Satanic Poems, and the Preludes op. 37, etudes op. 42. And at the same time, the idea of ​​the Third Symphony took shape so much that, having arrived in St. Petersburg in early November, Scriabin was able to introduce his musician friends to it. He wrote to his wife: “Yesterday evening I finally performed my symphony in front of a host of St. Petersburg composers and, oh surprise! Glazunov is delighted, Korsakov is very supportive. At dinner they even raised the question that it would be nice to force Nikish to perform it... I am also happy for Belyaev, who will now publish it with pleasure.”

Now Scriabin could go abroad - he had long dreamed of living in Switzerland. However, a month later, Belyaev died unexpectedly, and Scriabin found himself without the support to which he had become accustomed over many years of their friendship. It was not yet clear how relations with Belyaev’s successors would develop. A wealthy student of Scriabin, M. Morozova, came to the rescue and offered an annual subsidy. The composer gratefully accepted her and in February 1904 settled in Switzerland, on the shores of Lake Geneva. Here he completed the Third Symphony, after which he went to Paris to negotiate its performance.

T. Schletser came to him in Paris, who selflessly fell in love with the composer and decided to unite her life with him, despite the fact that Scriabin’s wife did not give him a divorce. Having a perfect understanding of the composer’s music and his philosophical quests, Schletser wrote a literary program (in French) for the premiere of the Third Symphony, which the composer authorized. It is as follows: “The “Divine Poem” represents the development of the human spirit, which, breaking away from a past full of beliefs and secrets, overcomes and overthrows this past and, passing through pantheism, comes to an intoxicating and joyful affirmation of its freedom and its unity with the universe (divine "I")".

The first part is “Struggles”: “The struggle between man - the slave of a personal God, the supreme ruler of the world, and a powerful, free man, a man-god. The latter seems to be triumphant. But so far only reason rises to the affirmation of the divine “I,” while the personal will, still too weak, is ready to fall into the temptation of pantheism.”

The second part is “Pleasures”: “A person surrenders to the joys of the sensory world. Pleasures intoxicate and lull him; he is absorbed in them. His personality disappears into nature. And then, from the depths of his being, Alexander Nikolaevich Scriabin, the consciousness of the sublime rises, which helps him overcome the passive state of his human self.”

Third part, “The Divine Game”: “The spirit, freed at last from all the bonds connecting it with the past, filled with submission to a higher power, the spirit producing the universe with the sole power of its creative will and recognizing itself as one with this universe, surrenders to the sublime the joy of free activity—“divine play”.”

The premiere of the Third Symphony took place in Paris on May 29, 1905 under the baton of A. Nikisch. Titled “The Divine Poem,” it marks the highest flowering of the composer’s work. It reflected the brightest aspects of his talent, and the ideas that worried him were embodied. “The Divine Poem” conveys the “pre-storm” state that gripped Russia at the beginning of the 20th century. However, it is translated deeply individually, not as a feeling of an impending revolution or other upheavals and cataclysms, but as the life of the soul. Scriabin was one of those composers who did not create spontaneously, but based their work on certain ideas. His notes preserve the basic outlines of his philosophical system. “Everything that exists exists only in my mind. The world... is the process of my creativity,” the composer believed.

The third symphony is of particular interest because it seems to connect the early Scriabin with the late. It richly presents the various shades of the composer’s worldview, his entire path from “despair” to “optimism” and from disappointment in life to radiant ecstasy. For the first time, it uses the huge orchestra that would later be used in The Poem of Ecstasy and Prometheus.

Music

The first part is preceded by an introduction; at its very beginning, a Liszt theme sounds fortissimo - the octaves of bassoons, trombone, tuba and string basses intone seven chanted notes - the theme of self-affirmation, a kind of “I am.” This is the core of the entire symphony. She is answered by the sharp fanfare of three trumpets. The sonority subsides, and the arpeggi of harps and strings can be heard. They contain a number of colorful harmonic comparisons. Towards the end of the introduction there is complete calm, a transition to the first part, which has the subtitle “Struggles”.

The first part is built according to the scheme of a classical sonata allegro, but its scale is grandiose. This is achieved by expanding each of the main sections of the form - exposition, development, reprise and the large coda, which is the second development. The main theme of the movement, presented by the violins, with its melodic turns is close to the theme “I am”, but unlike that, it is powerful, affirming, uncertain, and full of anxiety. This is how Scriabin shows the splitting of the “I” into one that is confident in its strength and one that is hesitant and doubtful. This theme runs through the orchestra many times, varying and fragmenting in various ways, now growing, now subsiding, conveying a variety of emotional shades. A new phase of development begins: the flute, violin and clarinet soar bright scales, and the horns, in unison with the cellos, sing an expressive melody (“with enthusiasm and rapture” - the author’s remark). This is the first impulse towards light and joy in the symphony. It fades out quite quickly, transitioning into a restrained waltz-like theme from the violins, partly foreshadowing the thematic material of the second movement. The side part, light, capricious, flighty, is presented by woodwinds against the backdrop of graceful, sinuous melodic patterns of violins. After its brief development, the final game begins, at first restrained and calm. Its color, clear and gentle, is created by the tremolo of the strings, the light lines of the woodwinds, and the echoes of the harps. A pastoral theme appears in the flutes and violins, after which the sonority begins to increase, the melody acquires an ecstatic character, and soon the climax occurs in the tutti of the orchestra, indicated by the composer with the remark “divine, grandiose.” The fanfare rhythms of the entire orchestra sound solemnly and at the same time impetuously, and finally the motive “I am” is heard. As in the introduction, it appears twice and resolves twice into a stream of arpeggias. During development, fragments of the main batch pass through different tools, combined with the simultaneous development of a side batch. But at the moment of climax, everything seems to collapse, slide down with a rapid chromatic scale (the author’s remark is “a terrible collapse”). Gradually, more and more climaxes are prepared and collapse. The latest one in development starts from afar. After reaching the climax, the theme “I am” loudly enters, but quickly breaks off. The next passage is gloomy, alarming (“with anxiety and horror”). The reprise repeats the main contrasts and climaxes of the exposition, but the specific presentation of themes and orchestration are varied. Following the end of the reprise, another extensive coda sounds.

Critics reproached the composer for excessively expanding the movement. And indeed, the balance is upset, but this is necessary: ​​the first part “flows” into the second without interruption. Written in a loose three-part form, it is entitled "Pleasures." The first theme of the movement is full of languor and sensual charm. The theme is widely developed: its presentation is rich in exquisite harmonic effects. The episode, equipped with the remark “with boundless rapture,” is typical of true Scriabin harmonies - the apogee of sensuality, immersion in the delights of pleasure. The harps enter for the first time, the timpani rumble dully on a bass note. A new phase begins - the clarinet appears a winding melody, akin to the future theme of the finale, but emotionally opposed to it - images of pantheism, extremely important for the concept of the symphony. The strings are accompanied by calm tremolos, the horns have sustained notes, the harp has alternating chords, and the flutes have an imitation of birdsong, which continues and even intensifies when the main theme enters again.

The finale - "The Divine Game" - is written in sonata form, more laconic than in the first movement. It begins with a trumpet fanfare, playing a melody close to the theme “I am.” The music approaches the fast march genre, but without a consistent rhythm. It is rather a dissolution of real marching into rhythms that are more capricious, vague, and unstable. The side part (flute and cellos in unison) resembles the connecting part of the first movement, but is distinguished by concentrated meditation. Its development leads to the final part, in which winding melodic moves give way to light, transparent music, full of lyrical delight. The orchestration is characteristic - tremolo of strings, arpeggios of harps, sparkles of wood, rich chords of brass, vague rumble of timpani - and above all the high sounds of a piccolo flute. The development is not large, but it energetically develops the fanfare of the theme “I am” the initial motive of the finale. Scriabin's remarks - “swiftly”, “divine”, “luminous”, “more and more sparkling” - emphasize the steady emotional growth. In the reprise, the main part is greatly reduced, the side part is expanded and contains new features, in particular, more developed fanfare themes from the second part. The final part leads to the coda. The main themes of all parts sound, and finally, for the last time, the theme “I am” is powerfully affirmed. Scriabin's self won. The long-familiar arpeggios, which invariably accompanied the theme of self-affirmation, are now full of triumph, confidence and strength. Here the final, most powerful climax is reached for the last time. The tremolo of the timpani increases. Powerful voices of copper merge into a single choir. This is the highest point of self-affirmation. This is ecstasy.

The anthem of the revolution was his Third Symphony ("Divine Poem"), the first performance of which took place in January 1905 under the baton of the Hungarian conductor Arthur Nikita. At the beginning of the 20th century. The centers of musical life in Russia were the Mariinsky and Bolshoi theaters. However, the main achievements of opera art of this time are associated with the activities of private opera in Moscow (S.I. Mamontov, and then S.I. Zimin). On the stage of the Moscow Private Russian Opera Mamontov, the talent of the outstanding Russian singer and actor F.I. Chaliapin (1873-1938) was revealed in full force. “In Russian art, Chaliapin is an era like Pushkin,” wrote Gorky. The Russian vocal school produced many wonderful singers, among whom F.I. Shalyapin, L.V. Sobinov, A.V. Nezhdanova. Complex processes took place in the visual arts. The Wanderers Association remained one of the main creative organizations of Russian artists. Many of the Itinerants experienced the influence of the revolutionary movement (N.A. Kasatkin, S.V. Ivanov, I.I. Brodsky, etc.).

Works unpublished during the author's lifetime or remaining in manuscript

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Russian composer and pianist Alexander Nikolaevich Scriabin was born on January 6, 1872 (December 25, 1871, old style) in Moscow. His family came from an old noble family. My father served as a diplomat in Turkey. Mother - Lyubov Shchetinina was an outstanding pianist, she graduated from the St. Petersburg Conservatory with the Polish pianist Theodor Leshetitsky, her talent was highly valued by composers Anton Rubinstein, Alexander Borodin, Pyotr Tchaikovsky. She died of tuberculosis when her son was not even one and a half years old. Alexander was raised by his aunt, Lyubov Skryabina, who fascinated him with playing the piano. At the age of five, he confidently reproduced on the instrument not only melodies, but also simple pieces he had once heard; at eight he began composing music, also writing poetry and multi-act tragedies.

Since 1882, according to family tradition, Alexander Scriabin studied at the Second Moscow Cadet Corps. He took piano lessons from Georgy Konyus and Nikolai Zverev, studied music theory under the guidance of Sergei Taneyev, and performed in concerts.

In 1888, a year before graduating from the cadet corps, he entered the Moscow Conservatory with two specialties: piano and free composition. In 1892 he graduated from the conservatory with a small gold medal in the class of Vasily Safonov (piano), receiving a grade of “five plus” on the final exam. In composition, Scriabin did not receive permission to take the exam to receive a diploma, although by the time he entered the conservatory he was the author of over 70 compositions.

After graduating from the Moscow Conservatory, due to an exacerbation of the disease of his right hand, which was overplayed during his studies, Alexander Scriabin went through a difficult period, from which the famous St. Petersburg philanthropist Mitrofan Belyaev (until the end of his days he was a publisher and promoter of the composer’s music) helped him get out of it, sending Scriabin to 1896 on a tour of Europe.

In 1898-1904, Scriabin taught special piano at the Moscow Conservatory.

He combined his teaching activities with intensive composing. He was interested in the works of symbolist poets. Scriabin was particularly influenced by the philosophy of Vladimir Solovyov; he was also a friend of the philosopher Sergei Trubetskoy. He attended philosophical circles and literary debates, which led to the birth of his own philosophical and artistic concept of the “creative spirit”, reflected in the Third Symphony “Divine Poem” (1903-1904), “Poem of Ecstasy” (1905-1907), “Prometheus” (1911) ), piano works. Later, having become acquainted with the teachings of Helena Blavatsky, Scriabin became interested in Eastern religious teachings and came to the idea of ​​​​a synthesis of music and other forms of art, reviving the genre of ancient mystery.

In 1904-1909, Scriabin lived abroad and gave concerts in America with an orchestra conducted by the famous Hungarian conductor Arthur Nikisz. In 1909 he performed in Moscow with triumphant success. In 1910, Scriabin finally returned to his homeland.

He devoted the last years of his life mainly to piano compositions. Scriabin's later works - sonatas Nos. 7-10, piano poems "Mask", "Strangeness", "To the Flame" - are in one way or another connected with the ideas of "mystery". At the same time, he formed a new system of musical thinking, which was developed in the art of the twentieth century.

Scriabin is the first composer to use color and light music when creating his works, who created a table of color correspondence to certain keys. In 1910, for an expanded symphony orchestra, piano, organ, choir, and lights, Scriabin wrote “The Poem of Fire” (“Prometheus”), which is considered one of his most significant creations. It was first performed in 1911 in St. Petersburg, the piano part was performed by the author himself.

In 1914, at the beginning of the First World War, Scriabin gave concerts to benefit those affected by the war.

The composer's works include three symphonies (1900, 1901, 1903-1904); symphonic poem "Dreams" (1898); for piano - 10 sonatas, 9 poems, 26 etudes, 90 preludes, 21 mazurkas, 11 impromptu, waltzes.

On April 27 (April 14, old style), 1915, Alexander Scriabin died suddenly in Moscow from blood poisoning.
In 1916, by resolution of the City Duma, a memorial plaque was installed on Scriabin’s house. In 1922, the Scriabin Museum was opened in the apartment in which the composer lived from 1912 until his death.

Scriabin's music is an uncontrollable, deeply human desire for freedom, for joy, for enjoying life. ...She continues to exist as a living witness to the best aspirations of her era, in which she was an “explosive”, exciting and restless element of culture.
B. Asafiev

A. Scriabin entered Russian music in the late 1890s. and immediately declared himself as an exceptional, brightly gifted person. A brave innovator, “a brilliant seeker of new paths,” according to N. Myaskovsky, “with the help of a completely new, unprecedented language, he opens before us such extraordinary... emotional perspectives, such heights of spiritual enlightenment that it grows in our eyes to a phenomenon of global significance " Scriabin's innovation manifested itself in the field of melody, harmony, texture, orchestration, and in the specific interpretation of the cycle, and in the originality of plans and ideas, which largely coincided with the romantic aesthetics and poetics of Russian symbolism. Despite his short career, the composer created many works in the genres of symphonic and piano music. He wrote 3 symphonies, “Poem of Ecstasy”, poem “Prometheus” for orchestra, Concerto for piano and orchestra; 10 sonatas, poems, preludes, etudes and other works for piano. Scriabin's work turned out to be in tune with the complex and turbulent era of the turn of two centuries and the beginning of a new one, the 20th century. Intensity and ardor of tone, titanic aspirations for freedom of spirit, for the ideals of goodness and light, for the universal brotherhood of people permeate the art of this musician-philosopher, bringing him closer to the best representatives of Russian culture.

Scriabin was born into an intelligent patriarchal family. His early deceased mother (a talented pianist, by the way) was replaced by his aunt, Lyubov Aleksandrovna Scryabina, who also became his first music teacher. My father served in the diplomatic service. The little one showed a love for music. Sasha from an early age. However, according to family tradition, at the age of 10 he was sent to the cadet corps. Due to poor health, Scriabin was relieved from painful military service, which made it possible to devote more time to music. In the summer of 1882, regular piano lessons began (with G. Konyus, a famous theorist, composer, pianist; later with conservatory professor N. Zverev) and composition (with S. Taneyev). In January 1888, young Scriabin entered the Moscow Conservatory in the class of V. Safonov (piano) and S. Taneyev (counterpoint). After taking a counterpoint course with Taneyev, Scriabin moved to A. Arensky’s free composition class, but their relationship did not work out. Scriabin brilliantly graduated from the conservatory as a pianist.

Over the decade (1882-92), the composer composed many musical pieces, most of all for piano. Among them are waltzes and mazurkas, preludes and etudes, nocturnes and sonatas, which already have their own “Scriabin note” (although at times one can feel the influence of F. Chopin, whom the young Scriabin loved so much and, according to contemporaries, performed beautifully). All of Scriabin's performances as a pianist - at a student evening or in a circle of friends, and later on the largest stages in the world - were held with constant success; he knew how to powerfully capture the attention of listeners from the very first sounds of the piano. After graduating from the conservatory, a new period began in the life and work of Scriabin (1892-1902). He embarks on an independent path as a composer-pianist. His time is filled with concert trips at home and abroad, composing music; his works begin to be published by the publishing house of M. Belyaev (a wealthy timber merchant and philanthropist), who appreciated the genius of the young composer; connections with other musicians are expanding, for example with the Belyaevsky Circle in St. Petersburg, which included N. Rimsky-Korsakov, A. Glazunov, A. Lyadov and others; recognition is growing both in Russia and abroad. The trials associated with the disease of the “overplayed” right hand are left behind. Scriabin has the right to say: “Strong and mighty is he who has experienced despair and defeated it.” In the foreign press he was called “an exceptional personality, an excellent composer and pianist, a great personality and a philosopher; he is all the impulse and the sacred flame.” During these years, 12 etudes and 47 preludes were composed; 2 pieces for the left hand, 3 sonatas; Concerto for piano and orchestra (1897), orchestral poem “Dreams”, 2 monumental symphonies with a clearly expressed philosophical and ethical concept, etc.

The years of creative flourishing (1903-08) coincided with a high social upsurge in Russia on the eve of and implementation of the first Russian revolution. Scriabin lived most of these years in Switzerland, but was keenly interested in revolutionary events in his homeland and sympathized with the revolutionaries. He shows increasing interest in philosophy - he again turns to the ideas of the famous philosopher S. Trubetskoy, meets G. Plekhanov in Switzerland (1906), studies the works of K. Marx, F. Engels, V. I. Lenin, Plekhanov. Although the worldviews of Scriabin and Plekhanov stood at different poles, the latter highly appreciated the personality of the composer. Leaving Russia for several years, Scriabin sought to free up more time for creativity, to escape from the Moscow situation (in 1898-1903, among other things, he taught at the Moscow Conservatory). The emotional experiences of these years were also associated with changes in his personal life (leaving his wife V. Isakovich - an excellent pianist and promoter of his music - and rapprochement with T. Schletser, who played a far from clear role in Scriabin’s life). Living mainly in Switzerland, Scriabin repeatedly went with concerts to Paris, Amsterdam, Brussels, Liege, and America. The performances were a great success.

The tense social atmosphere in Russia could not but affect the sensitive artist. True creative peaks were the Third Symphony (“Divine Poem”, 1904), “Poem of Ecstasy” (1907), and the Fourth and Fifth Sonatas; Etudes, 5 poems for piano were also composed (among them “Tragic” and “Satanic”), etc. Many of these works are close to the “Divine Poem” in their figurative structure. The 3 parts of the symphony (“Struggle”, “Pleasure”, “Divine Game”) are welded together thanks to the leading theme of self-affirmation from the introduction. In accordance with the program, the symphony tells the story of the “development of the human spirit,” which, through doubt and struggle, overcoming the “joys of the sensory world” and “pantheism,” comes to “a certain free activity - a divine game.” The continuous succession of parts, the application of the principles of leitmotif and monothematism, and improvisational flowing presentation seem to erase the edges of the symphonic cycle, bringing it closer to a grandiose one-part poem. The mode-harmonic language becomes noticeably more complicated with the introduction of tart and sharp-sounding harmonies. The composition of the orchestra is significantly increased by strengthening the groups of wind and percussion instruments. Along with this, individual solo instruments associated with one or another musical image are distinguished. Relying mainly on the traditions of late romantic symphonism (F. Liszt, R. Wagner), as well as P. Tchaikovsky, Scriabin created a work that established him in Russian and world symphonic culture as an innovative composer.

“Poem of Ecstasy” is a work of unprecedented boldness in concept. It has a literary program, expressed in poetry and similar in idea to the concept of the Third Symphony. The final words of the text sound like a hymn to the all-conquering will of man:

And the universe announced
With a joyful cry
I am!

The abundance of theme-symbols within a one-part poem - laconic expressive motives, their diverse development (polyphonic techniques play an important role here), and finally, colorful orchestration with dazzlingly bright and festive climaxes convey that state of mind that Scriabin calls ecstasy. An important expressive role is played by the rich and colorful harmonic language, where complex and unstable consonances already predominate.

With Scriabin's return to his homeland in January 1909, the final period of his life and work begins. The composer focused his main attention on one goal - the creation of a grandiose composition designed to change the world and transform humanity. This is how a synthetic work appears - the poem “Prometheus” with the participation of a huge orchestra, choir, solo piano, organ, as well as lighting effects (the light part is written out in the score). In St. Petersburg, Prometheus was first performed on March 9, 1911 under the baton of S. Koussevitzky, with Scriabin himself participating as a pianist. “Prometheus” (or “The Poem of Fire”, as the author called it) is based on the ancient Greek myth of the Titan Prometheus. The theme of man's struggle and victory over the forces of evil and darkness, retreating before the radiance of fire, inspired Scriabin. He completely renews his harmonic language here, departing from the traditional tonal system. Many themes are involved in the intense symphonic development. “Prometheus is the active energy of the universe, the creative principle, it is fire, light, life, struggle, effort, thought,” Scriabin said about his “Poem of Fire.” Simultaneously with the thinking and composing of “Prometheus”, the Sixth-Tenth Sonatas, the poem “To the Flame”, etc. were created for piano. In the last years of his life, the composer worked on the “Preliminary Act”, he wrote down the text and composed the music, but did not record it. Intense work as a composer throughout the years, constant concert performances and associated travel (often for the purpose of financially supporting the family) gradually undermined his already fragile health.

Scriabin died suddenly from general blood poisoning. The news of his early death in the prime of his creative powers shocked everyone. All of artistic Moscow accompanied him on his last journey; many young students were present. “Alexander Nikolaevich Scriabin,” wrote Plekhanov, “was a son of his time. ...Scriabin's work was his time, expressed in sounds. But when the temporary, transient finds its expression in the work of a great artist, it acquires permanent meaning is done enduring».

Scriabin music pianist composer

Skryabin A.N. - Russian composer and pianist. The composer's father Nikolai Alexandrovich was a diplomat in Turkey; mother Lyubov Petrovna was an outstanding pianist. Pampered, impressionable, sickly Scriabin, from childhood, showed persistence in carrying out any business. Scriabin's musical talent was discovered very early: in his fifth year, he easily reproduced music he heard on the piano and improvised; at the age of 8 he tried to compose his own opera (“Lisa”), imitating classical models. According to family tradition, at the age of 11 he entered the 2nd Moscow Cadet Corps, where already in the first year of training, he performed in concert as a pianist. His piano teachers were initially T.E. Konyus, then N.S. Zverev, in whose musical boarding school S.V. was brought up at the same time. Rachmaninov, L.A. Maksimov, M.L. Presman and F.F. Keneman. Scriabin took private lessons in musical and theoretical subjects and graduated from the Moscow Conservatory with a gold medal in piano: from V.I. Sofonova, S.I. Taneyev and A.S. Arensky. Scriabin did not have a good relationship with Arensky, and he stopped studying, refusing a composer's diploma. In 1898-1903 he taught a piano class at the Moscow Conservatory. Among the students are M.S. Nemenova - Lunts, E.A. Beckman - Shcherbina.

Skryabin A.N. was an outstanding pianist, concentrated all his life, but already in his young years his artistic interests focused almost exclusively on the interpretation of his own compositions. Spirituality, romantic elation, a subtle sense of expressiveness of details - all these and other features of Scriabin's performing art corresponded to the spirit of his music.

Having written a lot since the 2nd half of the 80s, Scriabin relatively quickly went through the stage of imitation and searching for his own path. Some of his first creative experiences testify to his early aspirations and tastes. By the beginning of the 90s. include the first editions and performances of his piano pieces. They bring success to the author. A number of prominent composers and musical figures, in particular V.V. Stasov, A.K. Lyadov, become his adherents. The support provided to him by the famous philanthropist M.P. played a big role in the life of young Scriabin. Belyaev.

Creativity of A.N. Scriabin first period (late 80s 90s gg.)- the world of subtly inspired lyricism, sometimes restrained, concentrated, graceful (f-preludes, mazurkas, waltzes, nocturnes), sometimes impetuous, wildly dramatic (etude dis - moll, op. 8, No. 12; prelude es - moll, op. 11, No. 14, etc.). In these works, Scriabin is still very close to the atmosphere of romantic music of the 19th century, primarily to F. Chopin, whom he loved from childhood, and later to F. Liszt. The influences of R. Wagner are obvious in the symphonic work. Scriabin’s work is also closely connected with the traditions of Russian music, especially with P.I. Tchaikovsky. The works of Scriabin of the first period are in many ways related to the works of Rachmaninoff. But already in Scriabin’s early works his individuality is felt to one degree or another. A special impulsiveness and capricious variability are noticeable in the intonations and rhythms, pleasantness in the harmonies, a constant “flicker” of dissonances, and throughout the fabric there is lightness, transparency with great internal saturation. Scriabin early showed a penchant for ideological generalizations and for translating impressions into concepts. This is what attracted him to large forms. Sonatas for piano, later symphonies and symphonic poems become the main milestones of his creative path.

In sonata No. 1 (1892) there is a comparison, characteristic of romantic art, of the world of free, unconstrained feelings (1st, 3rd movements) and the feeling of harsh inevitability (2nd movement, mournful finale). The two-movement sonata - fantasy (No. 2, 1892 - 97), inspired by pictures of the sea, is deeply lyrical: the feeling, initially restrained, but already disturbed (1st movement), becomes stormy romantic excitement, boundless like the sea element (2nd movement) . The author described Sonata No. 3 (1897-98) as a “state of mind.” In it, at one pole there is drama, developing into heroism, into the daring of a strong will, at the other - the refinement of the soul, its gentle languor, affectionate playfulness (2nd, 3rd parts). In the coda of the finale, the hymnically transformed theme of the 3rd part appears, according to the author’s commentary, “from the depths of existence rises the formidable voice of a man - the creator, whose victorious singing sounds triumphant.” New in ideological scale and power of expression, the 3rd sonata marked the pinnacle of Scriabin's quest in the early period of his creativity and, at the same time, the beginning of the next stage in his development.

In the works of the second period (late 90s gg. 19th century - beginning 1900s gg.) Scriabin gravitated toward concepts that were not only broad, but also universal, going beyond the scope of lyrical expression. The role of moral and philosophical ideas, the search for the highest meaning and pathos of existence is increasing. To create a work means to instill in people some important truths, ultimately leading to universal beneficial changes - this is Scriabin’s ideological and artistic position that was finally formed at this time. The six-movement Symphony No. 1 (1899-1900) embodies the idea of ​​the transformative power of art. The changing moods of a romantically restless soul (2nd - 5th parts) are opposed by the image of sublime, all-reconciling beauty (1st, 6th parts). The finale is a solemn dithyramb to art - a “magical gift” that brings people “consolation”, giving birth, in the words of the composer, to “a boundless ocean of feelings.” About the final chorus, written in the spirit of the oratorio classics of the 18th century, the composer said: “I wrote it like that on purpose, because I wanted it to be something simple, popular.” The optimistic finale of the 1st symphony became the beginning of a bright utopian romanticism, which colored all of Scriabin’s subsequent work.

In the 2nd symphony (1901), heroic elements are strengthened. The thread of the “plot” is stretched from the harsh and mournful andante through a daring impulse (2nd part), intoxication with dream and passion (3rd part) through the menacingly raging elements (4th part) to the affirmation of unshakable human power (5th part) Part). The organic nature of the finale is emphasized by the stylistic connection with the entire cycle. But later, assessing this finale, the composer wrote: “I needed to give light here... Light and joy... Instead of light, there was some kind of compulsion..., pomp... I only found light later.” He wanted to embody the feeling associated with the triumph of man as light and playful as a fantastic dance; He thought of joy not as the bliss of peace, but as extreme excitement, ecstasy.

The composer first achieved his desired goal in symphony No. 3 (“Divine Poem”, 1903-04). The threads of the composer’s entire previous evolution are drawn to this work. Here Scriabin's philosophical program is formulated much more fully and consistently, the musical and figurative content is clarified, and his individual style is vividly embodied. For contemporaries, Scriabin's 3rd symphony, more than any other previous work, was the “discovery of Scriabin.” The 3rd symphony, according to the composer, is a kind of “biography of the spirit”, which, through overcoming everything material and sensual, comes to a certain higher freedom (“divine game”). The 1st part (“Struggle”) opens with a slow introduction, where the stern and imperious motive of “self-affirmation” runs through. What follows is an allegro drama with contrasts of dark - strong-willed and dreamy - light moods. Characteristically, with purely Scriabin-like ease of movement, in a certain sense anticipating the finale. The 2nd, slow, part (“Pleasures”) is the world of “earthly”, sensual lyrics, where the sounds and aromas of nature respond to the yearning of the soul. The finale (“The Divine Game”) is a kind of “heroic scherzo”. In contrast to the rather heavy - solemn finales of the previous symphony, here is an image of an intoxicatingly joyful dance or free “game”, however, filled with strong-willed activity and rapid energy.

The php is close to the “Divine Poem”. Sonata No. 4 (1901-03). Its entire “plot” is the process of the gradual birth of the same feeling of joy that is embodied in the finale of symphony No. 3. In the beginning - the flickering light of a star; it is still “lost in a light and transparent fog,” but already reveals the radiance of “another world.” Then (2nd final part) - the act of release, flight towards the light, immensely growing jubilation. The very special atmosphere of this Prestissimo volando is created by its entirely excited rhythmic pulsation, flickering light “flight” movements, transparent and at the same time extremely dynamic harmony. The works created by Scriabin at the turn of the 19th and 20th centuries are addressed to both the past and the future; Thus, in the 3rd symphony, the 1st and 2nd parts still remain in line with the “real” lyrical-dramatic images inherited from the 19th century, but in the finale there is a breakthrough to the new.

Third creative period (1904-1910) characterized by the final crystallization of Scriabin's novel-utopian concept. He subordinates all his activities to the creation of an imaginary “Mystery”, the goal of which goes far beyond the boundaries of art. The peculiarity of the third period is also in the radical form of the style, completely determined by new artistic tasks. In these years, persistent concepts. Freed from all the responsibilities that burdened him, while abroad, Scriabin intensively studied philosophical literature - the works of Kant, Fichte, Schelling, Hegel, and the works of the Second Philosophical Congress. He was interested in the concept of “universum”, the meaning of the “absolute” in subjective consciousness, otherwise, together with some idealist philosophers, he was inclined to understand it as the “divine” in man and in the world. Scriabin's desire for an all-encompassing formula of existence made Schelling's doctrine of the “world soul” especially attractive to him. At the same time, in his philosophical quests, Scriabin remained, first of all, an artist. The holistic sense of existence, which strengthened his faith in man, in the victoriousness of efforts on the path to the ideal, was broader than those theoretical concepts with the help of which he tried to solve the problems that worried him and build his 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 highest flowering of personality. Philosophical reading, conversations and debates were for Scriabin a process of arousal of thought; he was drawn to them by that once unsatisfied thirst for universal, radical truth about the world and man, with which the ethical nature of his art is inextricably linked. Philosophy, in addition, provided him with much-needed material for generalized poetic metaphors. Scriabin, being carried away by mystical philosophy, at the same time became acquainted with Marxist literature, which is why the meeting with G.V. became so interesting for him. Plekhanov (1906). “When I met him in Bogliasco,” recalls Plekhanov, “he was not at all familiar with the materialist view of K. Marx and F. Engels. I drew his attention to the important philosophical significance of this view. A few months later, having met him in Switzerland, I saw that, far from becoming a supporter of historical materialism, he managed to understand its essence so well that he could operate with this teaching better than many “die-hard” Marxists.” Plekhanov said about Scriabin: “His music is of a grandiose scope. This music is a reflection of our revolutionary era in the temperament and worldview of an idealistic mystic.” The mystic’s worldview determined some very vulnerable features of Scriabin’s work - the utopianism of his concept, extreme subjectivism, which left its mark on many of his works, especially his later ones.

One of the main works of the third period of Scriabin’s work is the unambiguous “Poem of Ecstasy” (1905-1907). Developed in detail and presented in verse, the program for this work was published by the composer in the form of a separate brochure. The content of the text is close to the program of the 3rd symphony. In music, the poetic concept is interpreted more concisely with a clear emphasis on bright, optimistic elements of the plot. The four large sections of the poem, which is written in a freely interpreted sonata form, represent a fourfold comparison of two thematic groups - images of dreams and active action. The creative obsession of the soul, dreaming and enchanted, more and more persistently breaks through to action and to the final triumph of “free will.” In the code of the poem, the development of the heroic themes of “will” and “self-affirmation” creates a mood of extraordinary power - the apotheosis of romantic festivity. Fp. sonata No. 5 (1907) combines some characteristic images of the 4th sonata and the “Poem of Ecstasy”. But the theme of the introduction has already touched upon the sphere of the symphonic poem “Prometheus”: the disturbing and mysterious power of the “dark depths” where the “embryos of life” lurk. Particularly close to the “Poem of Ecstasy” and the 5th piano sonata are Scriabin’s piano miniatures such as “The Riddle” and “The Poem of Longing” op. 52, No. 2 and 3, “Desire” and “Weasel in the Dance” op. 57, no. 1 and 2.

In “Prometheus” (“Poem of Fire”, 1909-1910), the composer’s shift towards concepts that are even more universal and at the same time more abstract is noticeable. The name of the ancient hero symbolizes in this work the “active energy of the universe.” Prometheus is "the creative principle, fire, light, life, struggle, effort, thought." The starting point of the “plot” is dormant chaos and the still nascent life of feeling. The concentrated expression of this primordiality is the Promethean chord, which appears from the first bar and is the sound basis of the poem. Its musical dramaturgy makes the signs of sonata form almost imperceptible; the music resembles a single stream with a whimsically complex line of internal development. Themes of “creative mind”, daring and proud “will”, pleasure, joyful play, and longing flicker and constantly transform. The orchestra's sound, unusual in its impulsiveness, sometimes resembles sheaves of rainbow sparks, sometimes menacing collapses, sometimes gentle moans. The orchestral fabric is either jewel-like transparent, rich in lyrical means and colorful details, or condenses into powerful tutti. In the main climax at the end of the code there is a “huge radiant rise” (choir, organ, bell). However, for all the grandeur of the climax, Prometheus is perceived as the most subtle rather than the most powerful of Scriabin's works. A notable feature of this score is the inclusion of a light line intended for a light keyboard. The effects of changing colors recorded in this line are based on the scale of sound-color correspondences proposed by the composer himself.

The fourth period of Scriabin's work (1910-1915) marked by an even greater complexity of creative ideas. The role of gloomy, mystically disturbing images is increasing, Scriabin’s music is increasingly acquiring the character of a sacred rite. These last years of the composer's life are a time of steady growth in his fame and recognition. He concentrates a lot, and each of his new premieres becomes a significant artistic event. The circle of Scriabin's admirers is expanding. Among the promoters of his music: pianists - V.I. Buyukli, A.B. Goldenweiser, I. Goffman, M.N. Meichik, M.S. Nemenova - Lunts, V.I. Scriabin - Isaakovich; conductors - A.I. Siloti, E.A. Cooper, V.I. Safonov, A.B. Khessin, A.S. Koussevetsky. In the latter, Scriabin finds a publisher and an outstanding performer of his symphonic works. During these years, the “Mysteries” project was at the center of the composer’s interests, acquiring more and more specific outlines. The legendary India arose in his imagination; a domed temple reflected in the mirror surface of the lake; a grandiose cathedral action, where everyone is participants and “initiates”, and there is no longer any audience; special, formal clothes; processions, dances, incense; a symphony of colors, aromas, “touches”; moving architectures; whispers, unknown noises, sunset rays and twinkling stars; trumpet voices, “brassy, ​​eerie, fatal harmonies.” The participants seem to experience the entire cosmogonic history of the “divine” and the “material,” ultimately achieving the reunification of “the world and the spirit; This, according to the composer’s idea, should be the “last accomplishment.” In essence, this project was a poetic vision, behind which was hidden a thirst for a great “miracle”, a dream of a new era, when evil and suffering will be defeated, when everyday life will give way to an eternal holiday, all-human highness and spirituality. Still, “Mystery” remained fantasy, far from life. It turned out to be a fantastic utopia and as an artistic endeavor. As a preparatory version of the Mystery, Scriabin conceived a large theatrical composition called “Preliminary Action”; in 1913-1914 he worked on the poetic text of this work. The first musical sketches appeared, but the work was interrupted by the sudden death of the composer.

All of Scriabin’s later works, which are completely independent in themselves, create on the whole a single, not very wide range of images, one way or another connected with the ideas of “Mystery”. These are the last sonatas (No. 7 - 10), the poems “Mask” and “Strangeness”, “To the Flame”, the dance “Gloomy Flame” and others. These images are presented especially fully in the piano sonata No. 7 (1911-1912); it is characterized by incantatory, inviting recitatives, polyphonic chords of buzzing bells, gentle lamentations, but without any admixture of sensuality, foggy influxes that sometimes obscure the gentle melody, and the composer’s favorite sparkling whirlwind movements, the dissolution of lyrical intonation in vibrating and fading sonorities. Piano Sonata No. 9 (1913) is one of the most severe; “evil traits”, “procession of evil forces”, “dormant shrine”, “dream, nightmare, obsession” - this is how the author himself defined some of its most important moments. On the contrary, in sonata No. 10 (1913) there is a noticeable craving for refined and bright pantheistic moods. In this last major work of Scriabin, as in some of his later plays, new trends were revealed - the desire for greater simplicity, transparency, and tonal clarity.

Scriabin's creative path is a continuous search for new means of expression. His innovation was most noticeable in the field of harmony. Already in his early works, remaining within the framework of the 19th century style, Scriabin amazed and sometimes shocked his contemporaries with the unusually high tension and condensed dissonance of his harmonies. More decisive changes are noticeable in the early 1900s in the 3rd symphony, in the poem of the orchestra 44 and especially in the “Bizarre Poem” of the orchestra 45. The final crystallization of the new harmonious style occurred in the works of the third period. Here the major and minor tonic were replaced by another supporting element. This new support or “center” of the pitch system becomes a very complex dissonant consonance. If before this Scriabin’s unstable harmonies were, like those of the classics of the 19th century, aimed at an achievable resolution, now, replacing the tonic, they created a different expressive effect. It is largely thanks to such new harmonies that Scriabin’s music is perceived as “a thirst for action, but... without an active outcome” (B.L. Yavorsky). She seems to be drawn towards some unclear purpose. Sometimes this attraction is feverishly impatient, sometimes more restrained, allowing one to feel the charm of “longing.” And the target most often eludes. She moves whimsically, teases with her proximity and her changeability, she is like a mirage. This unique world of sensations is undoubtedly associated with the thirst to know the “secret”, characteristic of Scriabin’s time, with a premonition of some great achievements. Scriabin's harmonies were his most important discovery, helping to express in art new ideas and images born of time. At the same time, they also concealed some dangers: the polyphonic central harmony in later works finally supplanted all other chords or made them indistinguishable. This significantly weakened the effect of changing harmonies, which is so important for music. For this reason, the possibility of harmonious development has narrowed; Tonal development also turned out to be completely impossible. The more consistent the composer was in pursuing his harmonious principles, the more clearly the features of constraint and monotony appeared in his works.

Rhythmically, Scriabin's music is extremely impulsive. One of its characteristic features is a sharp emphasis, which emphasizes the authority, certainty of the movement, and sometimes its restless, impatient character. At the same time, Scriabin sought to overcome rhythmic inertia. The energetic impulse is complicated by an uncertain multiplicity of options; the expected emphasis suddenly moves away or approaches, the repeated motif reveals a new rhythmic organization. The expressive meaning of such modifications is the same as in Scriabin’s harmony: instability, boundless instability, variability; a completely relaxed feeling pulsates within them, rejecting inertia and automatism. The capriciously changing forms of presentation and the multiplicity of timbre shades act in the same direction. Typical of Scriabin are textural techniques that give his music transparency, airiness, or, as he himself liked to say, “flight.”

Scriabin's musical forms are in many respects close to the traditions of the past. Until the end of his life, he valued clarity, crystalline structures, and the completeness of individual constructions. In Scriabin's major works he always generally adhered to the principles of sonata allegro, sonata cycle or one-part poem. Novelty is manifested in the interpretation of these forms. Gradually all thematic elements become brief and aphoristic; thoughts and feelings began to be expressed by hints, symbols, and conventional signs. In the close-up works, a contradiction arose between the monumentality of the general plan and the detailed, subjectively capricious “curve” of development. Although the kaleidoscopic change of microelements fit into separate relatively complete constructions, in reality it created an open process. Attention was fixed not only on the chain of movement, but on the process itself, the “flow of feelings.” In this sense, Scriabin’s technique of thematic development and form-building, so characteristic of the composer’s atmosphere of electricity, makes one perceive his music as continuous, full of rich nuances, but also hopeless movement.

Scriabin is one of those who, through the power of art, tried to resolve the age-old question of human freedom. Inspired by the belief in the magically quick and final liberation of man, Scriabin’s work expressed the expectation and premonition of great social changes characteristic of many of his contemporaries. At the same time, the fantastic nature of Scriabin's ideas was incompatible with a sober understanding of real social processes. His younger contemporaries and the artists of subsequent generations sought to discover inspiring goals not in illusions, but in reality. And yet, many composers of the beginning of the century, especially Russians, came into contact with Scriabin in one way or another, felt the influence of his new expression and the whole restless, seething world of Scriabin’s quest.

Alexander Nikolaevich Scriabin

Alexander Scriabin is one of the largest Russian composers of the late 19th – early 20th centuries, an outstanding, very original pianist. He was born in Moscow in 1872. His mother was a pianist who graduated from the St. Petersburg Conservatory; his father, being a diplomat, served in the Middle East for a long time.

Alexander was orphaned early, and his aunt took over the boy’s upbringing. Very early, the future composer showed interest in music: he spent hours at the piano, improvising. It turned out that Sasha has an excellent ear for music and memory.

When the boy was 10 years old, his aunt assigned him to the Cadet Corps, where he successfully completed his course of study in 1889. The famous theorist and composer G. E. Konyus helped Scriabin receive his initial musical education; later the boy took piano lessons from N. S. Zverev, theory lessons from S. I. Taneyev. For the first time as a pianist, Scriabin performed in front of a general public in the Hall of Columns of the former Noble Assembly. At that time he was 14 years old.

Alexander Nikolaevich Scriabin

In 1888, Alexander entered the Moscow Conservatory, where he studied piano with Safonov and theory and composition with Taneyev and Arensky. However, he studied with the latter for a relatively short time, since Arensky did not believe that the young man had the makings of a composer. As a result, Scriabin graduated from the conservatory only in piano, receiving a gold medal.

In 1894, Scriabin performed his works for the first time in St. Petersburg. In this city he met M.P. Belyaev and members of his circle. Thanks to their support (Belyaev undertook to publish his works), Scriabin was able to give concerts consisting entirely of his own compositions in Russia and abroad. And he soon gained popularity as one of the brightest and most interesting Russian pianists. In 1898, Scriabin became a professor of piano at the Moscow Conservatory. Here his teaching talent was revealed, which helped him win the love of his students.

The very first works of Scriabin that have come down to us were written by him during his studies in the Cadet Corps. During the period when he was educated at the conservatory, and in the coming years after graduation, the composer mainly created works for piano. These include preludes, mazurkas, impromptu and other miniatures, as well as the first three sonatas and a piano concerto.

The music of the first period of the composer's work can be characterized as lyrical-dramatic. Already at this time, the typical desire for Scriabin’s creative individuality to convey brightly contrasting areas became noticeable: psychologically subtle lyrics and dramatic experiences. The composer’s works also found an outlet for his love of nature. However, his music was never a purely landscape sound recording: the images that arose in his head under the influence of the beauties of nature were refracted through emotional experiences.

The basis of Scriabin’s work was also the traditions of Russian and Western European musical culture. Although he did not use genuine folk themes, his works nevertheless bear a national imprint, manifested in the melodiousness of the melodies and in some characteristic features of the harmonic language.

Already in his early years, Scriabin's lyrics bear a tone of sophistication and intimacy. The uniqueness of the composer's style is reflected in literally all elements of his musical language: the flexible, restless rhythm is especially noteworthy.

Anton Stepanovich Arensky

The most characteristic features of Scriabin's work of the 90s are most noticeable in the piano concerto, in the Third Sonata, in a number of preludes, etudes and other works of these years.

The beginning of the 1900s saw the peak of Scriabin's musical talent. From this point on, the composer focuses his attention mainly on symphonic works. In 1900, he completed the First Symphony, which marked the transition of the author’s work to a new level. Two years later the Second Symphony appeared, and in 1904 the Third (“Divine Poem”) appeared. Simultaneously with these major works, Scriabin created a large number of works for piano, including the Fourth Sonata, a number of poems and preludes.

In 1904, the composer left the Moscow Conservatory and went abroad. During his stay there (about six years), he managed to visit Switzerland, Italy, France and the United States of America, write “Poem of Ecstasy” (1907) for orchestra, the Fifth Sonata and many small piano pieces. His music is gradually gaining wider recognition.

Introduction theme from the symphony “Divine Poem” by A. N. Scriabin

During this period, Scriabin develops mainly the theme of life’s struggle, overcoming various obstacles encountered on a person’s path. In one of his letters there are lines that perfectly reflect his position: “To become an optimist in the real sense of the word, you need to experience despair and overcome it.” The theme of resolving difficulties that arise every now and then in life was already outlined in the composer’s First Symphony and was further developed in the Second. The main role in these works is played by active, strong-willed images of heroic deeds and the triumph of light. As an epigraph to the Third Symphony and to the “Poem of Ecstasy,” one could probably take the words of the composer himself: “I’m going to tell people that they are strong and powerful.”

Scriabin's musical language became significantly more complex in the 1900s. In the melody, declamation and an abundance of active imperative intonations become more noticeable. The rhythms are distinguished by their swiftness, suggesting that the compositions have a dance flavor to one degree or another.

Scriabin combines new features with classical rigor of form and an abundance of clearly defined sections. The composer’s desire for completeness, logic and careful finishing of all texture details becomes even clearer.

In 1909, Scriabin returned to Russia and in 1910 finally settled in Moscow. He still continued to perform as a pianist in various Russian cities and abroad. In 1910, Scriabin made a concert tour with the orchestra of the famous conductor Koussevitzky around the Volga cities, and in subsequent years gave concerts in Germany, Holland, and England.

Scriabin performed his own compositions superbly and inimitably. Pianist M. L. Pressman, who studied with Scriabin at the conservatory, later recalled: “He had an exceptionally charming sound in beauty and softness, easy and clear mobility of his fingers. In small passages, his piano sounded incomparable. He could bring out almost orchestral colors from it, there was a lot of grace in it. If we add to all this that he had excellent command of the pedal, then the physiognomy of Scriabin the pianist will be clear.”

One of the reviewers wrote the following words about Scriabin’s performance: “Scriabin plays somehow intimately, as if he were improvising, as if confessing to himself his deepest inspirations. I would like to turn off the lights in the hall and in the darkness eavesdrop on the movements of his rich soul. You can't talk about his technique. You don’t think about her when you listen to him play. You only hear and experience what he makes you hear and experience with his creative will - this is the greatest art!... He is similar to his spiritual predecessor - Chopin..."

Despite being very busy and constantly performing as a pianist, Scriabin also finds time to create new works, including the symphonic poem “Prometheus” (“Poem of Fire”) for orchestra, solo piano and choir singing without words. After this composition, he wrote five more sonatas, the poem “To the Flame” and a number of small piano pieces.

Under the influence of reactionary mystical teachings, which were very widespread in those years, Scriabin conceived the idea of ​​creating a grandiose work called “Mystery,” combining in it various types of art. He dreamed that all of humanity would take part in the “Mystery.” Fulfillment of it will lead to the death of the world as a material principle and the liberation of the spiritual principle. Reflections on the fusion of arts prompted the composer to introduce into the score of “Prometheus” a special musical line, designated by the word luce (“light”), intended for some light instrument not yet invented by mankind. When performing “Prometheus”, the hall should, according to Scriabin’s idea, be illuminated by light waves of different colors, corresponding to certain musical themes and harmonies.

In the works of the last period, Scriabin's musical images often acquire an abstract character and become conventional images-symbols. Thematic development is replaced by a complex combination of different themes. The compositions are dominated by complex modes: for example, in “Prometheus” the main harmony, which replaced triads and other chords of the major-minor mode system, becomes a consonance of six tones, built in fourths.

In the last year of his life, Scriabin worked on “Preliminary Action,” which he considered as a kind of prologue to “Mystery.” From this work, only the poetic text he wrote and several rough sketches of music have survived.

In the spring of 1915, the composer gave a concert in Petrograd. Upon returning to Moscow, he became seriously ill and soon died.

Scriabin's work had a huge influence on Russian and foreign music. Many composers adopted expressive techniques, especially Scriabin's harmonies.

Piano works constitute the largest part of Scriabin's entire legacy. Among them are a number of works of large form - a concert, 10 sonatas and plays (a B minor fantasy, the poems “Tragic”, “Satanic”, “To the Flame”, a nocturne poem). There are a lot of miniatures - mainly preludes and studies.

In the 1900s, the genre of the poem appeared in Scriabin's piano work. Some of the plays he wrote during this period bear peculiar, bizarre and mysterious titles, for example “Irony”, “Riddle”, “Mask”, “Strangeness”, etc.

Of the 10 sonatas created by the composer between 1893 and 1913, the first three are traditional sonata cycles. The rest are composed according to the one-part principle. The Third and Fourth, akin to the composer’s symphonic work, are rightfully considered one of his best achievements. The fifth sonata echoes the “Poem of Ecstasy”; the last five sonatas are generally close in style to “Prometheus”.

The piano works of Scriabin's early period are distinguished by their melodiousness and the beauty of their melodic language. The composer's lyrical melody, flexible and plastic, often has a peculiar winding pattern that conveys the subtlest shades of emotional experiences. Despite the melodiousness, Scriabin’s melodicism is more instrumental than vocal, song-like in nature. This feature is most noticeable in the dramatic episodes of his music. Their melody is characterized by breaks, leaps, and pauses.

Scriabin almost did not turn to such forms of imitative polyphony as fugue and fugato, although the features of polyphony are clearly manifested in his works. Widely using various figurations, he skillfully created intricate patterns from them. Complex, multifaceted presentation is typical of Scriabin's piano style.

Six scores (not counting the piano concerto), a small orchestral work “Dreams”, 3 symphonies and 2 poems (“Poem of Ecstasy” and “Prometheus”) belong to the symphonic field of the composer’s work.

Scriabin's symphony was built on the basis of a creative combination and refraction of various traditions of symphonic classics of the 19th century. All three of his symphonies are united by a common ideological concept, the essence of which reflects the struggle of the human personality with hostile forces blocking its path to freedom. Moreover, this confrontation each time ends with the victory of the hero and the triumph of light.

The first symphony (E major, 1899 – 1900) consists of 6 movements. In this work one can clearly feel all the composer’s skill as a symphonic playwright. He contrasts various images with each other, skillfully develops them, saturating the music with the dynamics of struggle and at the same time maintaining the integrity and harmony of the form. But the vocal-symphonic finale was much less successful for Scriabin. He himself said that he had not yet been able to convey “the light in music” here.

The Second Symphony (1902) continues the line of the First, but it is more dramatic and heroic. Its “through action” leads from the gloomy, stern mood of the first, introductory part to the heroic impulse.

The Third Symphony and the “Poem of Ecstasy” reflected Scriabin’s desire for maximum concentration of musical content: if the First Symphony had 6 movements, the Second – 5, the Third there are only 3, and the “Poem of Ecstasy” and “Prometheus” are one-part compositions.

In Scriabin's symphonic works the emotional contrasts characteristic of his work are very noticeable. The composer himself defined them with the expressions “supreme grandeur” and “supreme sophistication.” He compares heroic Promethean images with subtle, refined and fragile images - themes of “dream”.

These two plans of Scriabin's symphonic dramaturgy are most clearly expressed in the “Poem of Ecstasy”. This work is a kind of transitional stage between the middle and final periods of Scriabin’s work. Some new features appear in it, unusual for previously symphonies and indicative of the development of the composer's style. For example, in the “Poem of Ecstasy” there are practically no extended melodies; almost each of its many themes is, in fact, an individual, expressive, but very laconic musical phrase. Continuous symphonic development is replaced by an alternation of fairly brief, emphatically contrasting episodes.

Along with the evolution of Scriabin's symphonic style, orchestral means also developed. Starting with the Third Symphony, the composition of the orchestra increases significantly. It includes, not counting the strings, 4 instruments of each type of woodwind; the brass group includes 8 horns, 5 trumpets, 3 trombones and a tuba. In addition there are 2 harps and a drum section. In the "Poem of Ecstasy" and in "Prometheus" an organ, celesta, bells and bells are added to this composition, and in "Prometheus" a piano and a choir are added.

The composer died in 1915.

ALEXANDER NIKOLAEVICH SKRYABIN /1872-1915/ The Scriabin family belonged to the Moscow noble intelligentsia. The parents, however, did not have the chance to play a noticeable role in the life and upbringing of their brilliant son, born on January 6, 1872. The mother soon died of tuberculosis, and the father

Team of authors

Alexander Nikolaevich Scriabin (1872–1915) Scriabin's family belonged to the Moscow noble intelligentsia. The parents, however, did not have the chance to play a noticeable role in the life and upbringing of their brilliant son, born on January 6, 1872. The mother soon died of tuberculosis, and