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Alexander Nikolayevich Scriabin (Russian: Алекса́ндр Никола́евич Скря́бин, Russian pronunciation: [ɐlʲɪˈksandr nʲɪkəˈlaɪvʲɪtɕ ˈskrʲæbʲɪn], Aleksandr Nikolajevič Skr'abin; sometimes transliterated as Skriabin, Skryabin, or Scriabine) (6 January 1872 [O.S. 25 December 1871]–27 April 1915) was a Russian composer and pianist who initially developed a highly lyrical and idiosyncratic tonal language inspired by the music of Chopin. Unlike the later Roslavets and Schönberg, Scriabin developed, via mysticism, an increasingly atonal musical language that presaged 12 tone composition and other serial music. He may be considered to be the primary figure of Russian Symbolism in music as well as the progenitor of Serialism.

Scriabin influenced composers like Olivier Messiaen, Sergei Prokofiev, Nikolai Roslavets, and Igor Stravinsky, although Scriabin was reported to have disliked Prokofiev's and Stravinsky's music.^[1]

Scriabin stands as one of the most innovative and most controversial of composers. The Great Soviet Encyclopedia said of Scriabin that, "No composer has had more scorn heaped or greater love bestowed..." Leo Tolstoy once described Scriabin's music as "a sincere expression of genius."^[2]

Scriabin was highly regarded during his lifetime and his music has resurged in popularity in the last few decades after suffering a period of decline in the middle of the 20th century. He has consistently remained a favorite composer among pianists.^[1]

Contents 1 Biography 1.1 Childhood and education (1871-1893) 1.2 Career and later life (1894-1915) 2 Music 2.1 Style and musical influences 2.2 Philosophical influences 2.3 Influence of colour 2.4 Performers and legacy 3 Media 4 Eponym 5 Relatives 6 See also 7 References 8 External links 8.1 Scores 8.2 Recordings

[edit] Biography

[edit] Childhood and education (1871-1893)

Scriabin was born into an aristocratic family in Moscow on Christmas Day 1871, according to the Julian Calendar (this translates to 6 January 1872 in the Gregorian Calendar). The Scriabins had firm roots in the military; his father and all of his uncles had military careers.^[3] When he was only a year old, his mother—herself a concert pianist and former pupil of Teodor Leszetycki—died of tuberculosis. After her death, Scriabin's father completed tuition in the Turkish language in St. Petersburg, subsequently becoming a diplomat and finally leaving for Turkey, leaving the infant Sasha (as he was known) with his grandmother, great aunt, and aunt. Scriabin's father would later re-marry, giving Scriabin a number of half-brothers and sisters. His aunt Lyubov (his father's unmarried sister) was an amateur pianist who documented Sasha's early life up until he met his first wife. As a child, Scriabin was frequently exposed to piano playing, and anecdotal references describe him demanding his aunt play for him.

Apparently precocious, Scriabin began building pianos after finding fascination with pianistic mechanisms. Pianos he did build were often given away by him to unsuspecting house guests. Lyubov portrays Scriabin as very shy and unsociable with his peers, but appreciative of adult attention. Another Lyubov anecdote tells of Scriabin trying to conduct an orchestra comprised of local children, an attempt that ended in frustration and tears. He would perform his own immature plays and operas with puppets to willing audiences. He studied the piano from an early age, taking lessons with Nikolai Zverev, a strict disciplinarian, who was teaching Sergei Rachmaninoff and a number of other prodigies at the same time, though Scriabin was not a pensionnaire like Rachmaninoff.^[3] In 1882 he joined the 2nd Moscow Cadet Corps. As a student, he made friends with the actor Leonid Limontov, although in his memoirs Limontov recalls his reluctance at making friends with Scriabin who was the smallest and weakest among all the boys and was sometimes teased because of this.^[3] However, Scriabin won his peers' recognition and approval at a concert in which he played the piano.^[3] Scriabin later studied at the Moscow Conservatory with Anton Arensky, Sergei Taneyev, and Vasily Ilyich Safonov. He became a noted pianist despite his small hands that could barely grasp a ninth. Feeling challenged by Josef Lhevinne, he seriously damaged his right hand while practicing Liszt's "Don Juan Fantasy" and Balakirev's Islamey.^[4] His doctor said he would never recover, and he wrote his first large-scale masterpiece, the F-minor sonata, as a "cry against God, against fate." In 1892, he graduated with the Little Gold Medal in piano performance, but did not complete a composition degree because of strong differences in personality and musical taste with Arensky (whose faculty signature is the only one absent from Scriabin's graduation certificate) and an unwillingness to compose pieces in forms that did not interest him.^[3] Ironically, one requirement that he did complete, an E-minor fugue, became required learning for decades at the Conservatory.^{[citation needed]}

[edit] Career and later life (1894-1915)

In 1894, Scriabin debuted as a pianist in St. Petersburg, performing his own works to positive reviews. In the same year, Mitrofan Belyayev agreed to pay Scriabin to compose for his publishing firm (he published works by notable composers such as Nikolai Rimsky-Korsakov and Alexander Glazunov).^[3] In August 1897, Scriabin married the young pianist Vera Ivanovna Isakovich, and went on to tour in Russia and abroad, culminating in a highly successful 1898 concert in Paris. That year he became a teacher at the Moscow Conservatory, supporting himself and his wife while attempting to establish his reputation as a composer.In this period he composed his cycle of études, Op. 8, several sets of preludes, his first three piano sonatas, and his only piano concerto, among other works, mostly for piano.

For a period of five years Scriabin was based in Moscow during which time the first two of his Symphonies were conducted by his old teacher Safonov. By the winter of 1904, Scriabin and his wife had moved to Switzerland where work began on the composition of the Third Symphony (or The Divine Poem). This piece was performed in Paris in 1905, where Scriabin was now accompanied not by his wife, but by Tatiana Fyodorovna Schloezer—a former pupil and the niece of Paul de Schlözer. Scriabin's seperation from his wife Vera had occurred during the stay in Switzerland.^[3] With Schloezer, he had other children, including a son named Julian, who composed several sophisticated pieces before drowning in a boating accident at age 11 in 1919.^{[citation needed]}Scriabin may have also had some homosexual encounters.^[3]

With the financial support of a wealthy sponsor, he spent several years traveling between Switzerland, Italy, France, Belgium and United States, working on more orchestral pieces, including several symphonies. He was also beginning to compose "poems" for the piano, a form with which he is particularly associated.

In 1907 he settled in Paris with his family and was involved with a series of concerts organized by the impresario Sergei Diaghilev, who was actively promoting Russian music in the West at the time.

In 1909 he returned to Russia permanently, where he continued to compose, working on increasingly grandiose projects. For some time before his death he had planned a multi-media work to be performed in the Himalayas, that would bring about the armageddon, "a grandiose religious synthesis of all arts which would herald the birth of a new world." ^[5] Scriabin left only sketches for this piece, Mysterium, although they were eventually made into a performable version by Alexander Nemtin.^[6] The Mysterium was, psychologically speaking, a world Scriabin’s genius created to sustain its own evolution.^[7]

Scriabin was small and reportedly frail, and a hypochondriac his entire life. At the age of 43, he died in Moscow from septicemia, contracted as a result of a shaving cut or a boil on his lip.^[7]

[edit] Music

[edit] Style and musical influences

Many of Scriabin's works are written for the piano. The earliest pieces resemble Frédéric Chopin's and include music in many forms that Chopin himself employed, such as the étude, the prelude, the nocturne, and the mazurka. Scriabin's music gradually evolved over the course of his life, although the evolution was very rapid and especially short when compared to most composers. Aside from his earliest pieces, his works are strikingly original, the mid- and late-period pieces employing very unusual harmonies and textures. The development of Scriabin's voice and style can be followed in his ten piano sonatas: the earliest are composed in a fairly conventional late-Romantic idiom and show the influence of Chopin and Franz Liszt, but the later ones move into new, original territory, the last five being written with no key signature. Many passages in them can be said to be atonal, though from 1903 through 1908, "tonal unity was almost imperceptibly replaced by harmonic unity." ^[8]

Aaron Copland praised Scriabin's thematic material as "truly individual, truly inspired", but criticized Scriabin for putting "this really new body of feeling into the strait-jacket of the old classical sonata-form, recapitulation and all" calling this "one of the most extraordinary mistakes in all music." ^[9] According to Samson the sonata-form of Sonata No. 5 has some meaning to the work's tonal structure, but in Sonata No. 6 and Sonata No. 7 formal tensions are created by the absence of harmonic contrast and "between the cumulative momentum of the music, usually achieved by textural rather than harmonic means, and the formal constraints of the tripartite mould." He also argues that the Poem of Ecstasy and Vers la flamme "find a much happier co-operation of 'form' and 'content'" and that later Sonatas such as Sonata No. 9 employ a more flexible sonata-form.^[8]

[edit] Philosophical influences

Scriabin was interested in Friedrich Nietzsche's übermensch theory, and later became interested in Theosophy. Both would influence his music and musical thought. In 1909–10 he lived in Brussels, becoming interested in Delville's Theosophist movement and continuing his reading of Hélène Blavatsky.^[8]

Theosophist and composer Dane Rudhyar wrote that Scriabin was "the one great pioneer of the new music of a reborn Western civilization, the father of the future musician", and an antidote to "the Latin reactionaries and their apostle, Stravinsky" and the "rule-ordained" music of "Schoenberg's group."^{[citation needed]} Scriabin developed his own very personal and abstract mysticism based on the role of the artist in relation to perception and life affirmation. His ideas on reality seem similar to Platonic and Aristotelian theory though much more ethereal and incoherent. The main sources of his philosophical thought can be found in his numerous unpublished notebooks, one in which he famously wrote "I am God". As well as jottings there are complex and technical diagrams explaining his metaphysics. Scriabin also used poetry as a means in which to express his philosophical notions, though arguably much of his philosophical thought was translated into music, the most recognisable example being the messianistic 7th sonata 'white mass'.

[edit] Influence of colour

Though these works are often considered to be influenced by Scriabin's synesthesia, a condition wherein one experiences sensation in one sense in response to stimulus in another, it is doubted that Alexander Scriabin actually experienced this.^[10][11] His colour system, unlike most synesthetic experience, lines up with the circle of fifths: it was a thought-out system based on Sir Isaac Newton's Opticks. Note that Scriabin did not, as far as his theory is concerned, recognize a difference between a major and a minor tonality of the same name (for example: c-minor and C-Major). Indeed, influenced also by the doctrines of Theosophy, he developed his system of Synesthesia toward what would have been a pioneering multimedia performance: his unrealized magnum opus Mysterium was to have been a grand week-long performance including music, scent, dance, and light in the foothills of the Himalayas that was to bring about the dissolution of the world in bliss.

In his autobiographical Recollections, Sergei Rachmaninoff recorded a conversation he had had with Scriabin and Nikolai Rimsky-Korsakov about Scriabin's association of colour and music. Rachmaninoff was surprised to find that Rimsky-Korsakov agreed with Scriabin on associations of musical keys with colors; himself skeptical, Rachmaninoff made the obvious objection that the two composers did not always agree on the colours involved. Both maintained that the key of D major was golden-brown; but Scriabin linked E-flat major with red-purple, while Rimsky-Korsakov favored blue. However, Rimsky-Korsakov protested that a passage in Rachmaninoff's opera The Miserly Knight supported their view: the scene in which the Old Baron opens treasure chests to reveal gold and jewels glittering in torchlight is written in D major. Scriabin told Rachmaninoff that "your intuition has unconsciously followed the laws whose very existence you have tried to deny."

While Scriabin wrote only a small number of orchestral works, they are among his most famous, and some are frequently performed. They include a piano concerto (1896), and five symphonies, including The Poem of Ecstasy (1908) and Prometheus: The Poem of Fire (1910), which includes a part for a "clavier à lumières", also known as the Luce (Italian for "Light"), which was a colour organ designed specifically for the performance of Scriabin's symphony. It was played like a piano, but projected coloured light on a screen in the concert hall rather than sound. Most performances of the piece (including the premiere) have not included this light element, although a performance in New York City in 1915 projected colours onto a screen. It has erroneously been claimed that this performance used the colour-organ invented by English painter A. Wallace Rimington when in fact it was a novel construction personally supervised and built in New York specifically for the performance by Preston S. Miller, the president of the Illuminating Engineering Society.

Scriabin's original colour keyboard, with its associated turntable of coloured lamps, is preserved in his apartment near the Arbat in Moscow, which is now a museum dedicated to his life and works.

[edit] Performers and legacy

Scriabin's music has been performed by musicians such as Sergei Rachmaninoff, Vladimir Horowitz, Arthur Rubinstein, Sviatoslav Richter, Vladimir Sofronitsky, Wojciech Kocyan, Andrei Gavrilov, Bernd Glemser, Emil Gilels, Ruth Laredo, Marc-André Hamelin, Evgeny Kissin, Claudio Arrau, Vladimir Ashkenazy, Stanislaw Neuhaus, Michael Ponti, Glenn Gould, Roberto Szidon, Robert Taub, Dimitri Alexeev, Piers Lane, Stephen Coombs, Nikolai Demidenko, Alfred Cortot, and Evgeny Zarafiants.

Pianists who have performed Scriabin to particular critical acclaim include Vladimir Sofronitsky, Vladimir Horowitz and Sviatoslav Richter. Sofronitsky never met the composer, as his parents forbade him to attend a concert due to illness. The pianist said he never forgave them. Rubinstein premiered the 5th sonata in the West. Horowitz performed for Scriabin, in his home as an 11 year old child, and Scriabin had an enthusiastic reaction, but cautioned that he needed further training.^[12] As an elderly man, Horowitz remarked that Scriabin was obviously crazy, because he had tics and could not sit still.^[12] Despite Horowitz' assessment, Scriabin held the rapt attention of the musical world in Russia while he was alive. His funeral was attended by such numbers that tickets had to be issued. Rachmaninov went on tour, playing only Scriabin's music. Prokofiev greatly admired the composer, and his Visions Fugitives bears great likeness to the Scriabinic tone and style. Another admirer was the British-Parsi composer Sorabji who strenuously collected the obscure works of Scriabin whilst living in Essex as a youth. Sorabji promoted Scriabin even during the years when Scriabin's popularity had declined massively. Scriabin's great-great grandson Elisha Abas is a concert pianist who divides his time between New York and Israel.^[13]

[edit] Media

In January 1910 Scriabin played in Moscow nine of his own compositions for Welte-Mignon and his playing was transcribed on piano rolls. The results have been played back and recorded:

	Prélude Op. 11, No. 1 (728 kB) Prélude Op. 11, No. 2 (1492 kB) Mazurka Op. 40, No. 2 (677 kB) Prelude No. 1, Op. 67 Performed by Jennifer Castellano. Courtesy of Musopen, 1.87 mB
Problems listening to these files? See media help.

[edit] Eponym

Asteroid 6549 Skryabin is named after the composer.^[14]

[edit] Relatives

Scriabin was the uncle of Metropolitan Anthony Bloom, a renowned bishop of the Russian Orthodox Church who headed the Russian Orthodox diocese in Great Britain between 1957-2003.

[edit] See also

• Synthetic chord
• Mystic chord
• Atonality
• Sergei Rachmaninoff
• Igor Stravinsky
• Romantic Music
• 20th century classical music

[edit] References

[edit] External links

Wikiquote has a collection of quotations related to: Alexander Scriabin

• [1]
• Scriabin Society of America
• The mythical time in Scriabin by Lia Tomás
• Was Scriabin a Synaesthete? by B. Galeyev & I. Vanechkina
• Scriabin in Aspen No.2 on UBUWEB (A short biography by Faubion Bowers; four preludes and the tenth sonata available for download)
• Alexander Scriabin discography at MusicBrainz
• Aleksandr Scriabin - MIDI files
• Works by or about Alexander Scriabin in libraries (WorldCat catalog)

[edit] Scores

• Free scores by Alexander Scriabin in the International Music Score Library Project
• Scriabin's Sheet Music by Mutopia Project
• Free scores by Alexander Scriabin in the Werner Icking Music Archive (WIMA)
• www.kreusch-sheet-music.net – Free Scores by Alexander Scriabin

[edit] Recordings

• Piano Rolls (The Reproducing Piano Roll Foundation)

Persondata
NAME	Scriabin, Alexander Nikolayevich
ALTERNATIVE NAMES	Skryabin, Scriabine, Skrjabin
SHORT DESCRIPTION	pianist, composer
DATE OF BIRTH	6 January 1872 [O.S. 26 December 1871]
PLACE OF BIRTH	Moscow, Russia
DATE OF DEATH	27 April 1915
PLACE OF DEATH	Moscow, Russia