Alexander Scriabin (1872-1915): Russian composer and pianist.
Heavily influenced by Chopin in his youth.
Later in his life he became interested in theosophy.
In the work ‘Prometheus’ Scriabin experimented new musical techniques (independently of Schoenberg he explored dissonant, atonal sounds). Scriabin was interested in the relationship between music and colour. His ideas for ‘Prometheus’ was to use a ‘colour organ’- in such instrument colours were to be related to tonalities on the circle of fifths. During a performance, Scriabin wanted the organ to project lights coloured with the associated notes.
Doubts remain on whether Scriabin had ‘synesthesia’ (a condition where someone perceives an event through multiple senses although in that event only one sense was actually simulated. For example some musicians are able to visualise colours when hearing notes).
Inspired by the ‘Tristan Chord’, Scriabin attempted to create new musical scales.
He also wanted to create musical scales that would evoke his spiritual sentiments- one attempt is the so-called ‘mystic chord’, a 6-note chord.
Scriabin had great expectations on a visionary work called ‘Mysterium’ which he desired to be played in a temple in the Himalayas. The work, however, was left unfinished. Pasthun
MY FAVOURITE WORKS:
-Mazurkas (1884-1903) [Op.3: IV. Mazurka No.4]
-Nocturne in A flat major
-Sonata Fantasia (1886)
-Etude in C-shap minor (1889)
-Sonata in E-flat minor
-Fantasy for two pianos in A minor
-Piano Sonata No.1 in F minor Op.6 IV (1892)
-Nocturne for the left hand op. 9 No. 2 (1894)
-2 Impromptu (1895)
-5 Preludes, Op. 16
-Piano Concerto in F-sharp minor (1896)
-5 Preludes, Op. 15
-Reverie for Orchestra (1898)
-Symphony 1 (1900)
– 4 Preludes Op.33, 39 (1901)
-Symphony 2 (1902) [Mv. III Andante]
-Poeme satanique (1903)
-The Poem of Ecstasy (1904)
-Quatre Morceaux, Op. 51 (1906)
-Trois Morceaux (1907)
-Two poemes (1912)
-Piano Sonata n.8 (1913)
-Vers la flamme (1914)