Scriabin Alexander Nikolaevich the most famous works. Skryabin Alexander Nikolaevich

Together with Sergei Rachmaninov. He graduated from the Moscow Conservatory, where he studied under Anton Arensky and Sergei Taneyev.

1894 met the famous philanthropist and publisher M. P. Belyaev, who began to publish Scriabin’s works, and the composer’s symphonic works have since begun to be heard in the programs of Russian symphony concerts. 1896 married pianist Vera Ivanovna Isakovich, with whom on a trip abroad in 1897/98 she performed with her husband in concert programs, playing his works. That same year, Skribyan began teaching piano at the Moscow Conservatory. During 1900-1904 Scriabin became the author of three symphonies.

In 1904-1910 Scriabin lived mainly abroad. There he became interested in Tatyana Fedorovna Shletser, from whom he had a daughter in 1905, but his legal wife was forced to return with the children to Moscow, without giving the man consent to divorce. In 1908, due to dissatisfaction with low fees, Scriabin broke with Belyaev's publishing house, but no other publishing house agreed to publish Scriabin's works, through which the composer was forced to earn money exclusively from concert activities. During this period, Scriabin wrote the symphonic poems “Poem of Ecstasy” and “Prometheus”.

In 1910-1914, the composer lived in Moscow, where a circle of fans gathered around him, who would later create the Scriabin society. In 1914, the composer became seriously ill with sepsis, which arose as a result of a carbuncle and caused his death in 1915. He was buried at the Novodevichy cemetery.

2. Creativity

The most important influence on the formation of Scriabin was exerted by representatives of the Russian religious and philosophical renaissance, especially V. Solovyov and V. Ivanov. Symbolism, with its central idea of ​​theurgy, colored in mystical, even apocalyptic tones, met with a warm response from the sophisticated artist, who sought to avoid all everyday life. While participating in the circle of the Russian philosopher S. Trubetskoy, the composer simultaneously became acquainted with the works of Kant, Fichte, Schelling, Hegel, and studied the materials of the philosophical congress in Geneva. In addition, he was interested in Eastern religious teachings and modern theosophical literature, in particular “The Secret Doctrine” by H. P. Blavatsky. His extensive knowledge, representing a special kind of philosophical eclecticism, where the most important thing was the experience of synthesizing various teachings and ideological positions, gave the composer a reason to reflect on his chosenness, to imagine himself as the center and source of a “new teaching” that could transform the world, bring it to a new stage development. Scriabin believed that the artist, as a microcosm, can influence the macrocosm of the state and even the entire universe.

Scriabin's work includes piano and symphonic genres. In the 90s, preludes, mazurkas, etudes, impromptu, 1st-3rd sonatas for piano, a concert for piano and orchestra were created, in the 1900s - 3 symphonies, 4th-10th sonatas and poems for piano (in including "Tragic", "Satanic", "To the Flame"), as well as such symphonic works as "Poem of Ecstasy" (1907), "Prometheus" (1910) - a landmark work of the late period of creativity. Scriabin's music reflected the rebellious spirit of his time, the anticipation of revolutionary change. It combines a strong-willed impulse, intense dynamic expression, heroic jubilation, special flight and refined spiritual lyrics.

Scriabin’s works, which embodied the idea of ​​ecstasy, a bold impulse directed towards unknown cosmic spheres, the idea of ​​the transformative power of art (the crown of such creations, according to Scriabin, was to be “Mystery”, which combines all types of art - music, poetry, dance, architecture , as well as light), are distinguished by a high degree of artistic generalization and the power of emotional impact.

Scriabin's work uniquely combines late-romantic traditions (the embodiment of images of an ideal dream, the ardent, excited nature of the statement, a tendency towards the synthesis of arts, preference for the genres of prelude and poem) with the phenomena of musical impressionism (subtle sound coloring), symbolism (images-symbols: themes of “will” , “self-affirmation”, “struggle”, “longing”, “dream”), as well as expressionism. Scriabin is a bright innovator in the field of means of musical expression and genres; in his later works, dominant harmony becomes the basis of the harmonic organization (the most characteristic type of chord is the so-called N. Promethean chord). For the first time in musical practice, he introduced a special part of light into a symphonic score (the poem “Prometheus”), which is associated with an appeal to colored hearing.

3. Records

In January 1910, Scriabin played 9 of his works for Welte-Mignon in Moscow and his performance was recorded on piano roll. These are the following entries:

Today Scriabin's discography is extremely wide. In the Soviet Union, Scriabin's piano work was most fully represented in the recordings of V. Sofronitsky, and orchestral music in the recordings of E. Svetlanov. In the late 1980s, a large number of piano and orchestral works were recorded by Vladimir Ashkenazy.

4. List of works

For symphony orchestra

for piano and orchestra

4.1. for piano

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.site/

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 autumn 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, a colleague and subordinate of Scriabin. 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 made to Scriabin's music. In 1972, the performance of the poem by the State Academic Symphony Orchestra of the USSR 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, the installation for which was 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 Piano Sonata, 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

Posted on the site

Similar documents

The performing appearance of the composer A.N. Scriabin, analysis of some features of his piano technique. Scriabin the composer: periodization of creativity. The figurative and emotional spheres of Scriabin’s music and their features, the main characteristic features of his style.

master's thesis, added 08/24/2013


Distinctive features and significance of music of the early 20th century. The compositional activity of S. Rachmaninov, the original foundations of his musical style. Creative let the Russian composer and pianist A. Scriabin. A variety of musical styles by I. Stravinsky.

abstract, added 01/09/2011


Alexander Porfirievich Borodin is one of the most outstanding and versatile figures of Russian culture of the nineteenth century. The creative legacy of the great composer. Borodin's work on the Second ("Bogatyrskaya") Symphony. The programmatic nature of the work.

abstract, added 04/21/2012


The Silver Age as a period in the history of Russian culture, chronologically associated with the beginning of the 20th century. A brief biographical note from the life of Alexander Scriabin. Matching colors and tones. The revolutionary nature of the creative quest of the composer and pianist.

abstract, added 02/21/2016


The childhood years of the outstanding Russian composer Alexander Nikolaevich Scriabin. First trials and victories. First love and the fight against illness. Gaining recognition in the West. The creative flowering of the great composer, author's concerts. Last years of life.

abstract, added 04/21/2012


Piano works by composer Scriabin. Musical means and techniques that determine the features of the form and figurative content of the prelude. Compositional structure of the Prelude op. 11 No. 2. The expressive role of texture, metrhythm, register and dynamics.

course work, added 10/16/2013


Creativity and biography. Three periods of creative life. Friendship with the famous conductor S. A. Koussevitzky. The work of A. N. Scriabin. A new stage of creativity. Innovation and traditions in the work of A.N. Scriabin. Tenth Sonata.

abstract, added 06/16/2007


The formation of a future composer, family, study. Kendenbil's songwriting, choral compositions. An appeal to the genre of symphonic music. Musical fairy tale "Chechen and Belekmaa" by R. Kendenbil. Cantata-oratorio genres in the composer’s work.

biography, added 06/16/2011


Biography of the Swiss-French composer and music critic Arthur Honegger: childhood, education and youth. Group "Six" and the study of periods of the composer's work. Analysis of the "Liturgical" Symphony as a work by Honegger.

course work, added 01/23/2013


History of Czech violin musical culture from its origins to the 19th century. Elements of folk music in the works of outstanding Czech composers. Biography and work of the Czech composer A. Dvorak, his works in the bow quartet genre.

Alexander Nikolaevich Scriabin

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

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

Brief biography of Scriabin

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

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

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

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

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

Interesting facts about Scriabin

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

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

Two wives of a musical philosopher

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

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

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

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

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

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

Works of Alexander Scriabin

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

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

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

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

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

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

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

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

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

Video: watch a film about Alexander Scriabin

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.site/

Introduction

2. The first period of creative life

3. Second period of creative life

4. The third period of creative life

5. A new stage of creativity

6. Innovation and traditions in the work of A.N. Scriabin

Conclusion

References

Introduction

Skryabin Alexander Nikolaevich, Russian composer and pianist. Born into the family of a diplomat, his mother was a pianist. He studied at the Cadet Corps (1882-89). From 1882 he took piano lessons. games from G. E. Konyus, then from N. S. Zverev, composition theory from S. I. Taneyev. From 1888 he studied at the Moscow Conservatory (with V.I. Safonov, Taneyev, A.S. Arensky), from which he graduated in 1892 in piano. He performed concerts in a number of Russian cities (he was especially famous for performing his own piano works); in 1895-96, the publisher M.P. Belyaev organized Scriabin's trip to European countries. In 1898-1903 he was a professor at the Moscow Conservatory (piano class). In 1904-09 he lived in Switzerland, as well as in France and Italy, combining intensive creative work with tours of Europe and America. From 1910 he settled in Moscow and traveled to the Netherlands (1912) and Great Britain (1914) with his own concerts. Scriabin's playing was distinguished by nervous excitement and at the same time exceptional spirituality, flexible nuances, elusive variability of tempo and rhythm, the finest gradation of sounds, richness and variety of timbre colors, achieved by virtuoso pedaling techniques.

1. The creative path of A. N. Scriabin

As I remember, he entered the stage nervous and small, but always with a victorious look. Sitting at the instrument, he looked up and forward, often closing his eyes, and his face expressed languor and pleasure at these moments. He sat very straight at the piano, never leaning towards the keyboard... but, on the contrary, often leaning back. At moments he... seemed to be suffocating from internal emotions. The intimate, gentle and seductive sound of Scriabin was indescribable. He mastered this huge secret of sound to perfection... He touched the keys as if with kisses, and his virtuoso pedal enveloped these sounds in layers of some strange echoes that no other pianist could reproduce. In strong places he was amazingly nervous, and this nervousness acted like an electric current."

Outstanding Russian composer, pianist, teacher. One of the greatest masters of musical culture of the late 19th - early 20th centuries. A bright and original thinker, Scriabin directed all his thoughts towards the reconstruction of the human personality and the world order as a whole through the forces of musical art. Scriabin's work is an original artistic system in which strong-willed impulses, heroic aspiration into unknown worlds ("highest grandiosity") are combined with exquisite, fragile spirituality, romantic genres (poem, prelude, sketch) - with their symbolist interpretation, and means of expression from completely traditional ones go back to a uniquely individual organization of sound.

A.N. Scriabin was born on January 6, 1872 in Moscow, in the house of his grandfather, retired artillery colonel A.I. Scriabin. Father of the composer N.A. Scriabin spoke many oriental languages ​​and devoted himself to many years of diplomatic service in the countries of the Middle East.

The composer's mother, L.P. Skryabina (née Shchetinina), brilliantly graduated from the St. Petersburg Conservatory in the class of T.O. Leshetitsky and successfully gave concerts. A. Rubinstein greatly appreciated her talent. A.N. Scriabin’s mother died early, and the boy was raised by L.A. Scriabin’s aunt and E.I. Scriabin’s grandmother.

Scriabin's musical abilities manifested themselves at the age of three, and at the age of five he already played with both hands, freely selecting by ear any music he heard. The piano became his favorite instrument throughout his life. Scriabin becomes a student of the famous Moscow teacher N.S. Zverev; Together with Scriabin, S.V. Rachmaninov, I.A. Levin and other subsequently famous virtuoso pianists took lessons from Zverev. At the same time, Scriabin, continuing the family tradition, studied at the Second Moscow Cadet Corps.

2. The first period of the creative life of A. N. Scriabin

Scriabin early gained fame as a pianist - a virtuoso with a completely original, unique style of playing - light, flying, exciting, with a manner of virtuoso use of the pedal inherent only to Scriabin. In 1888, Scriabin entered the Moscow Conservatory. His mentors were outstanding musicians of that time - S.I. Taneev, V.I. Safonov, A.S. Arensky. In 1892, Scriabin graduated from the conservatory with a gold medal. An independent creative life began.

He gave concerts in Russia and abroad and was an outstanding performer of his own compositions. M.P. Belyaev provided him with significant support (he published the works of the young composer and subsidized his concert trips).

In 1904-10 (with a break) he lived and worked abroad (in European countries, and also toured the USA). He was engaged in teaching activities: in 1898-1903 he was a professor (piano class) at the Moscow Conservatory, and at the same time taught in music classes at the Catherine Institute in Moscow. Among the students: M. S. Nemenova-Lunts, E. A. Bekman-Shcherbina.

The famous Russian musical figure and publisher M.P. Belyaev became Scriabin’s friend and patron, around whom St. Petersburg musicians led by N.A. Rimsky-Korsakov grouped in the 80s and 90s. A.K. Glazunov and A.K. Lyadov became close friends of Scriabin. Belyaev begins to systematically publish Scriabin’s works; at his insistence, Scriabin is annually awarded the Glinka Prize established by Belyaev. Belyaev helps Scriabin financially in arranging his first foreign tour. In Russia, Scriabin's orchestral works are invariably heard in Belyaev's Russian Symphony Concerts, often ahead of the Moscow performance.

3. The second period of the creative life of A. N. Scriabin

Major works of those years include the Piano Concerto op.20, two symphonies op.26 and op.29, the orchestral piece "Dreams" op.24 (Musical example: Etude op.8 No.12 dis-moll). One of Scriabin’s contemporaries recalls: “Even in those early years, Scriabin had the ability, which accompanied him throughout his life, to establish psychic contact with the audience from the very first chords he struck... It was not only his remarkable musical talent that captivated him. No less charm radiated from his entire personality as a whole. : I felt an exceptional nature..."

The beginning of the second period of Scriabin’s work should be considered 1903, a time saturated with the stormy atmosphere of the approaching revolution of 1905-1907. Feeling a huge upsurge of creativity, Scriabin created during this period such major works as the Fourth and Fifth Sonatas, the Third Symphony, and “Poem of Ecstasy.” The main theme of Scriabin of those years is the theme of a heroic personality on a cosmic scale, asserting himself in the struggle and winning. It was from this time that Scriabin subordinated his work to a philosophical basis. He studies the works of major philosophers. Plekhanov, with whom Scriabin became close in 1905 in Geneva, had a great influence on Scriabin's worldview, although he did not completely convince him of the theory of materialism. Nevertheless, Scriabin was and remains for us a composer-philosopher who developed his own original system of views on the role and tasks of art.

4. The third period of the creative life of A. N. Scriabin

Scriabin's life for almost six years (1904-1910) takes place outside of Russia. During this period, he leads the life of a traveling musician - he lives and performs in Geneva, Lausanne (Switzerland), Bogliasco (Italy), Paris (France), Brussels, Liege (Belgium); makes a large concert tour of US cities. At the same time, Scriabin reaches the heights of his creativity at this time - he creates the Third Symphony ("Divine Poem") op.43, "Poem of Ecstasy" op.54, Fifth Sonata op.53, "Tragic" op.34 and "Satanic" "op.36 poems for piano, preludes op.31, 33,35,37,39; etudes op.42 and many other piano pieces.

Scriabin is one of the largest representatives of artistic culture of the late 19th and early 20th centuries. The works include piano and symphonic genres. In the 90s preludes, mazurkas, etudes, impromptu, 1st-3rd piano sonatas, concerto for piano and orchestra were created in the 1900s. - 3 symphonies, 4-10th sonatas and poems for piano (including “Tragic”, “Satanic”, “To the Flame”), as well as such symphonic works as “Poem of Ecstasy” (1907), “ Prometheus" ("Poem of Fire", 1910) is a landmark work of the late period of creativity. Scriabin's music reflected the rebellious spirit of his time, the anticipation of revolutionary change. It combines a strong-willed impulse, intense dynamic expression, heroic jubilation, a special “flight” and refined spiritual lyrics.

In his work, Scriabin overcame the ideological inconsistency inherent in his theoretical philosophical concepts (around 1900 Scriabin became a member of the Moscow Philosophical Society and occupied a subjective idealistic position). Scriabin’s works, which embodied the idea of ​​ecstasy, a daring impulse directed towards unknown cosmic spheres, the idea of ​​the transformative power of art (the crown of such creations, according to Scriabin, was to be “Mystery”, which unites all types of art - music, poetry, dance, architecture , as well as light), are distinguished by a high degree of artistic generalization and the power of emotional impact.

Scriabin's work uniquely combines late-romantic traditions (the embodiment of images of an ideal dream, the ardent, excited nature of the statement, a tendency towards a synthesis of arts, preference for the genres of prelude and poem) with the phenomena of musical impressionism (subtle sound coloring), symbolism (images-symbols: themes of “will” , “self-affirmation”, “struggle”, “longing”, “dream”), as well as expressionism. Scriabin is a bright innovator in the field of means of musical expression and genres; in his later compositions, dominant harmony (the most characteristic type of chord is the so-called Promethean chord) becomes the basis of the harmonic organization. For the first time in musical practice, he introduced a special part of light (“Prometheus”) into a symphonic score, which is associated with an appeal to colored hearing.

Of these works, the first place belongs to the Third Symphony, which premiered in Paris on May 16, 1905 under the baton of Arthur Nikisch. This is a grandiose work, innovative in its ideas and means of expression, the first vivid statement of the heroic principle in Scriabin’s work. According to contemporaries. The third symphony made a “stunning”, “powerful”, “grandiose” impression on the audience. The tribune of Russian music, V.V. Stasov, warmly supported Scriabin: “No one has ever written this Symphony in this way, style, form, content, as this Symphony was created. What tasks! What a plan! What strength and what kind of structure! " Having completed the Third Symphony, Scriabin began work on the Fourth symphonic work - “Poem of Ecstasy” op.54.

In the spring of 1907, in Paris, where many Russian musicians gathered to participate in the “Concerts of Russian Music”, organized by the prominent musical and public figure S.P. Diaghilev, Scriabin showed his almost completed “Poem of Ecstasy”. Even more new in ideological concept and musical language than the Third Symphony, “Poem of Ecstasy” did not immediately find understanding even among such advanced thinkers as N. Rimsky-Korsakov and S. Rachmaninov. The victorious march of the "Poem of Ecstasy" around the world began after its brilliant performance by Scriabin's friend, the outstanding conductor M.I. Altshuler in New York on December 20/10, 1908. The coda especially struck the listeners - as if flooded by a sea of ​​light, permeated with the victorious sound of eight horns and a bell.

The development of the ideas of the “Poem of Ecstasy” was continued by Scriabin in the Fifth Sonata op.53, performed for the first time on November 18, 1908 by M. N. Meichik, with whom the composer himself went through the music of the sonata. This work marked the final approval in Scriabin's work of the genre of one-movement piano sonata with complex psychological content.

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).

In the 1900s The composer's philosophical concept crystallized, his plans acquired a grandiose scope, requiring symphonic forms of expression. From the ideas of transforming the world through art (1st symphony with a choral apotheosis finale to his own text, 1900), Scriabin came to the utopian but majestic concept of “Mystery” - a kind of universal artistic and liturgical action that unites all types of art. The idea of ​​renewal, the formation of a creative spirit, and proud self-affirmation underlies the 3rd symphony (“Divine Poem”, 1904) and receives complete artistic expression in the one-part symphonic poems - “Poem of Ecstasy” (1907) and “Prometheus” (“Poem of Fire” ", 1910). Striving for the highest “grandiosity” in the climaxes, Scriabin increased the composition of the orchestra, introducing an organ, bells, and in “Prometheus” a chorus without words and a special part of light.

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.

In January 1910, Scriabin finally returned to Russia, to Moscow. In the spring of the same year, a large concert tour of the cities of the Volga region took place, organized by S. Koussevitzky. Scriabin played his piano concerto op.20 there. The famous German artist Robert Sterl, the author of a portrait and a number of sketches of Scriabin, took part in the trip.

5. A new stage of creativity

The last five years of Scriabin's life are marked by the creation of the poem "Prometheus" op.60 for orchestra, choir, organ and solo piano and work on a grandiose synthetic work of art under the general name "mystery". The prologue to it was to serve as another synthetic work, called “Preliminary Action” by Scriabin. The composer did not finish it, but based on the remaining sketches, plans and poetic text, the “Preliminary Action” was recreated by A.P. Nemtin in 1970-86. The first part of "Action" was performed in Moscow on March 16, 1973.

In connection with his work on the “Preliminary Action”, Scriabin became close to the symbolist poets - K. Balmont, Vyach. Ivanov, Y. Baltrushaitis. Here we should note another unique side of Scriabin’s work, namely his extraordinary poetic gift, his desire to express in poetic form his philosophical views and philosophical program in his writings. He is interested in the innovative quests of Vs. Meyerhold and A. Tairov, visits the Moscow exhibition of the Lithuanian composer and artist M. Ciurlionis. At the same time, Scriabin wrote his last five sonatas, etudes op.65, last five preludes op.74, poem “To the Flame” op.72 and other works.

On March 2, 1911, “Prometheus” was performed in Moscow under the baton of S. Koussevitzky, the piano part was performed by the author. The first color-musical work, “the most amazing manifestation of the human spirit” - according to N.Ya. Myaskovsky - became the final, pinnacle work of Scriabin and the next new word in art. (Music example No. 3. Beginning of "Prometheus")

In 1913-14, Scriabin gave many concerts, made concert tours to the cities of the North-West and South of Russia, gave a series of concerts in St. Petersburg, performing the 9th op.68 and 10th op.70 sonatas for the first time. In 1914, Scriabin visited London, where Prometheus was performed with great success under the baton of Henry Wood (piano Arthur Clarke). On April 2, 1915, Scriabin gave the last concert of his life in Petrograd. It featured the first performances of Garlands op.73 No.1 and Preludes op.74 No.1 and No.4.

A few days later, Scriabin passed away. He died from an accidental general blood poisoning. The entire Russian and world musical community responded to the death of the great composer.

But Scriabin’s music remained alive, reverent, sunny and exciting.

6. Innovation and traditions in the work of N.A. Scriabin

Tenth Sonata.

The sonata form occupies an extremely important place in Scriabin's work. Starting from 1892, the time of the composition of the first sonata, until 1913, the end of the ninth, tenth and eighth, the composer persistently returned to this genre. The composer's increased interest in the sonata at the turn of the 19th and 20th centuries coincides with the heyday of the sonata form in Russian piano music. It was at this time that sonatas by Balakirev and Lyapunov, Glazunov and Rachmaninov, fourteen sonatas by Medtner and ten sonatas by Scriabin appeared. Such an active appeal to the sonata at the turn of the century prepared the subsequent rise of musical creativity in the form of the sonata among Russian and Soviet composers of the first half of the 20th century - sonatas by Shcherbachev, Myaskovsky, Alexandrov, Prokofiev, Shostakovich, Kabalevsky. Of all the composers named, only Medtner, Scriabin and Prokofiev were interested in the piano sonata as one of the main genres of creativity; other authors addressed it only sporadically.

After a long “silence” in the last third of the 19th century, when Russian composers almost stopped writing sonatas, the revival of this genre in the 19th century was a significant and conditional phenomenon.

The psychological complexity of the new era required adequately complex forms of expression. The tendency towards intellectualism and philosophy is revealed as one of the most important in all forms of art at the beginning of the 20th century.

The need for musical thinking is best met by the form of a sonata, and a sonata, saturated with poetic pathos, of thought itself, a thought filled with aspiration, suffering, passion. This is exactly what Scriabin’s cycle of ten piano sonatas is like.

The increased intellectualism of Scriabin's imaginative thinking led to the strengthening of the purely logical principle in his works of sonata form, to the maximum and versatile use of the internal dialectics of the sonata scheme, with its thesis and antithesis of exposition, the struggle of opposite principles and the synthesis of reprise and coda.

The tenth sonata is the lightest of the cycle of Scriabin sonatas. The composer wrote it near Aleksin, a small county town on the banks of the Oka. The beauty of the fragrant Russian nature and the pantheistic mood of the composer contributed to the composition of this inspired work. Here, the reverent delight before the majestic harmony of the universe, on the one hand, and the inexplicable in its mystery “earthly” poetry of forest silence, with its rustles and rustles that speak so much, organically merged here, on the other. In the tenth sonata, everything is filled with joyful sensations of space, light, enchanting calls and ringing sounds of blossoming life... Everything seems to echo and whisper to each other, greedily inhaling the flowing aromas of the earth filled with juices.

The musical language, in comparison with other works of the same period, is somewhat lighter and more transparent here, in particular, there are no rigid harmonic complexes, the design of the form is clearer, the relief of the melodic lines is more defined. The composer more intensively uses techniques of juxtaposition of extreme registers, colorful effects of tremulous sounds, vibrating chords, gently murmuring trills; masterfully applies simulation development techniques. The mode-harmonic language of the tenth sonata - similar to the ninth - is not as strict as in the other later sonatas, it follows the dogmas of monoharmony or the principle of transforming the melody into “horizontally deployed” harmonies and is generally freer from any a priori laws of composition, which Scriabin was so keen on in his last years. years of life. All this makes her music less subjective and gives it universal significance. And hence the wide recognition and concert popularity of the tenth sonata.

The work begins with an introduction, the thematic material of which plays a vital role in the process of sonata development. Two motives, opposed to each other, but also in tenacious interaction, determine the figurative content of the introduction theme:

Scriabin creativity sonata

1st topic of the Introduction.

2nd topic of the Introduction.

The first - as if descending from heights, harmonically transparent, enlightened - calm (eight bars) and the second - as if climbing from the depths of dark chaos, languid, thirsty (the next two bars). These motifs combine, alternate, enrich each other, creating an atmosphere of tense anticipation.

Further, it would seem that a simple repetition of the initial presentation opens (bar 29), but the place of the second motive is taken by the harbingers of upcoming changes - ups and sparkling trills (six bars of the connecting part). Later, these trills (bars 37 - 38 lumieux, vibrant) already “explode” the languid atmosphere of anticipation. Everything is suddenly illuminated, as if by magic, nature is freed from its cold stupor.

The main part begins (measure 39, Allegro) - an example of Scriabin’s typical flighty and impetuous themes, personifying impulse, enthusiasm, trepidation:

These are the “embryos of life” that have broken free, “the hidden aspirations... of the creative spirit” (remember the epigraph of the fifth sonata). Elements of the connecting part are woven into the theme of the main part, and then elements of the introduction theme. The trills again define the color, create its “illumination”, and against this background a side part enters (bar 73, avec une jouense exaltation), rhythmically refined, all as if electrified.

Its upward ascent with flashes to the final tremolando seems to be contrasted with the downward aspiration of the movement of the main part. This is one of the manifestations of the creative tendency towards architectural harmony, symmetrical proportionality, even “geometricism”, characteristic of many of Scriabin’s works of those years.

The final part (bar 84) interweaves the thematic elements of the introduction and the new theme (avec ravissement tendresse (tenderness), bar 88) - a theme of rapturous love, sounding as if against the background of a trill roll call. Here the romantic-aestheticized nature of Scriabin’s pantheism, his “humanization” of images of nature, turning them into symbols of a certain “beloved artist” are expressed with relatively greater spontaneity. Nature and love, admiration for the beauty of space - and the delight of being close to this beauty merge into one inextricable whole.

The development (begins with bar 166) uses all the thematic material of the exposition and glows with the same lovingly enthusiastic fire, rushing towards the radiance of the first climax (bars 154-157). Here the theme of the introduction - concentrated, in-depth - is reinterpreted as ecstatic. It sounds sparkling against a backdrop of jubilant, vibrating chords. Even more joyfully, the theme of the main party emerges and flashes like a mass of lights from the depths of this ecstatic sphere. The movement is directed towards the general pre-reprise climax (Puissant radieux, bars 212-221), with its ecstatic chimes. It is characteristic that to express luminosity Scriabin resorts to diatonics - the B major quartet-sex chord.

Two connecting “trill” bars are introduced into the main part of the reprise (Allegro, bars 224-305), where the themes of the introduction and exposition become somewhat dynamic, especially the theme of the side part (from bar 260), all as if saturated with phosphorescent lights; it runs in the middle register in a three-plane texture, and the trill flashes accurately highlight it from above.

The coda (measure 306), as in most later sonatas, embodies the image of a whirlwind dance. Starting with Presto, the motive of the introduction is isolated from it, the tempo gradually slows down (the rhythmic pulse approaches the pulse of the introduction), the same intonations sound as at the beginning of the sonata (Moderato).

And so the first “spatial” motif frames the work, now being perceived with some kind of enlightened mystery, even more deeply, even more significant, as an unrevealed secret of the universe.

Scriabin's piano sonatas reflect all stages of the evolution of his work, and in them, as well as in symphonic works, one of the most important trends in Scriabin's music was reflected - its hidden programmaticity. All ten Scriabin piano sonatas are programmatic works in the broad sense. Like his symphonic works, these are programmatic works without a specific literary and artistic basis (in some cases, programs or comments were “composed” after the music was written). After all, programming can be not only open, but also hidden, conditional, symbolic, abstract, subjective.

Naturally, the philosophical and idealistic programs of Scriabin's sonatas are irresistibly losing their relevance day by day, and the music of the sonatas is perceived by listeners more and more generally and continues to have a powerful impact.

A typical feature of a number of Scriabin's sonatas is the active use in them of the principle of monothematism, a feature designed in a program sonata to promote the unity of dramatic development and a comprehensive characteristic of the main image of the work.

The final parts in Scriabin's sonata form acquire particularly great, previously unprecedented significance. The reason for the increased role of the final games is clear: this is the character of active affirmation, as a rule, inherent in the very basis of the final games.

The codes of Scriabin's sonatas sometimes take on the character of second developments or finales in the cycle and usually become conductors of the main idea of ​​the work.

But in general, one of the most important incentives for conflict and dynamism of the sonata form - the immanence of sonata development - gives way to the intensification of the struggle of contrasting images, their interpenetration into each other and the transformation of one into another, according to the program plan.

Looking over the entire path of the composer’s creation of the sonata form, we can state that from the extremely sincere and courageous, but not yet fully mature in skill, first sonata to the perfect implementation of the fourth sonata and to the last time he wrote the deep, but intellectually somewhat “overloaded” eighth Scriabin goes through a long journey of searching for a new type of sonata writing. Each of his sonatas is not only a high example of artistic creativity in the proper sense of the word, but also a bold creative experiment. Achievements and difficulties along this path reflect the composer’s aesthetic searches, which can only be understood in connection with the peculiarities of his worldview and his aesthetics.

Conclusion

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.

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, two or three-note intonation or a fleeting passage acquire 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.

Used Books.

1. Belenky A.V. Biographical sketch of Scriabin A.N. - V, 1965, pp. 5-78.

2. Boyko G.A. Skryabin A.N. Innovator of the Silver Age - M.-L.: Soviet Writer, 1982, pp. 41 - 96.

3. Zaitsev B.V. Biographies of great people - M, 1985, pp. 56-123.

4. Nikitina V.P. A. N. Scriabin. Russian composer and pianist. - St. Petersburg, 1991, pp. 87 - 156.

5. Rubtsova V.V. Alexander Nikolaevich Skryabin - M, 1989, pp. 125-204.

Posted on the site

Similar documents

Creativity and biography. Three periods of creative life. Friendship with the famous conductor S. A. Koussevitzky. The work of A. N. Scriabin. A new stage of creativity. Innovation and traditions in the work of A.N. Scriabin. Tenth Sonata.

abstract, added 06/16/2007


The performing appearance of the composer A.N. Scriabin, analysis of some features of his piano technique. Scriabin the composer: periodization of creativity. The figurative and emotional spheres of Scriabin’s music and their features, the main characteristic features of his style.

master's thesis, added 08/24/2013


The childhood years of the outstanding Russian composer Alexander Nikolaevich Scriabin. First trials and victories. First love and the fight against illness. Gaining recognition in the West. The creative flowering of the great composer, author's concerts. Last years of life.

abstract, added 04/21/2012


Study of the musical category of romantic harmony and general characteristics of the harmonic language of A.E. Scriabin. Analysis of the logic of the harmonic content of Scriabin's preludes using the example of the e-moll prelude (op. 11). Scriabin's own chords in the history of music.

course work, added 12/28/2010


The Silver Age as a period in the history of Russian culture, chronologically associated with the beginning of the 20th century. A brief biographical note from the life of Alexander Scriabin. Matching colors and tones. The revolutionary nature of the creative quest of the composer and pianist.

abstract, added 02/21/2016


Piano works by composer Scriabin. Musical means and techniques that determine the features of the form and figurative content of the prelude. Compositional structure of the Prelude op. 11 No. 2. The expressive role of texture, metrhythm, register and dynamics.

course work, added 10/16/2013


Biography of Franz Liszt - Hungarian composer, virtuoso pianist, teacher, conductor, publicist. His education, personal life and creative activity. The last years of the composer's life. His piano works, symphonies and sonatas.

presentation, added 04/14/2015


Brief information about the life and work of the brilliant Polish composer and pianist Fryderyk Chopin. Innovative synthesis as a characteristic feature of his musical language. Genres and forms of Chopin's piano work, their characteristics.

abstract, added 11/21/2014


Achievements of composers of the Russian avant-garde. Musical creativity of A. Scriabin, S. Rachmaninov and I. Stravinsky. Composers of the Soviet era: D. Shostakovich and S. Prokofiev. The phenomenon of mass song, military and labor themes (Pakhmutova, Dunaevsky).

abstract, added 11/23/2009


Origin and family, childhood and youth of the Polish composer and virtuoso pianist, teacher Frederic Chopin. The place in his work of national dances: mazurkas, polonaises. Perpetuating the memory of the great composer, the most famous works.