Alexander Scriabin
Langue disponible : anglaisMystic, visionary, virtuoso, and composer, Scriabin dedicated his life to creating musical works which would, as he believed, open the portals of the spiritual world. Scriabin took piano lessons as a child, joining, in 1884, Nikolay Zverov's class, where Rachmaninov was a fellow student. From 1888 to 1892, Scriabin studied at the Moscow Conservatory, where his teachers included Arensky, Taneyev, and Safonov. Although Scriabin's hand could not easily stretch beyond an octave, he developed into a prodigious pianist, launching an international concert career in 1894. Scriabin started composing during his Conservatory years. Mostly inspired by Chopin, his early works include nocturnes, mazurkas, preludes, and etudes for piano. Typical examples of Romantic music for the piano, these works nevertheless reveal the composer's strong individuality. Toward the end of the century, Scriabin started writing orchestral works, earning a solid reputation as a composer, and obtaining a professorship at the Moscow Conservatory in 1898. In 1903, however, Scriabin abandoned his wife and their four children and embarked on a European journey with a young admirer, Tatyana Schloezer. During his sojourn in Western Europe, which lasted six years, Scriabin started developing an original, highly personal musical idiom, experimenting with new harmonic structures and searching for new sonorities. Among the works composed during this time was the Divine Poem. In 1905, Scriabin discovered the theosophical teachings of Helena Petrovna Blavatsky, which became the intellectual foundation of his musical and philosophical efforts. In true Romantic tradition, he sought to situate his work as a composer in the wider spiritual and intellectual context of his age. Previously influenced by Nietzsche's ideas about the advent of a superhuman being, Scriabin embraced theosophy as an intellectual framework for his profound feelings about humankind's quest for God. Works from this period, exemplified by the Poem of Ecstasy (1908) and Prometheus (1910), reflect Scriabin's conception of music as a bridge to mystical ecstasy. While the ideas underlying his works may seem far-fetched, Scriabin's musical language included some fascinating, and very tangible, innovations, such as chords based on fourths and unexpected chromatic effects. Lacking an inner forward-moving force, Scriabin's later works nevertheless fascinate the listener by harmonic transformations which aim to reflect certain undefinable aspects of human consciousness. In addition, the composer, who strongly believed in the synaesthetic nature of art, experimented with sounds and colors, indicating, for example, lighting specification for the performance of particular works. Indeed, Scriabin's interest in color was hardly academic, considering that , as an orchestrator, he exploited the full potential of orchestral color. While Scriabin never quite crossed the threshold to atonality, his music nevertheless replaced the traditional concept of tonality by an intricate system of chords, some of which (e.g., the "mystic chord": C-F sharp-B flat-E-A-D) had an esoteric meaning. Scriabin's gradual move into realms beyond traditional tonality can be clearly heard in his ten piano sonatas; the last five, composed during 1912-1913, are without key signatures and certainly contain atonal moments. In 1915, Scriabin died in of septicemia caused by a carbuncle on his lip. Among his unfinished project was Mysterium, a grandiose religious synthesis of all arts which would herald the birth of a new world.
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Mystic, visionary, virtuoso, and composer, Scriabin dedicated his life to creating musical works which would, as he believed, open the portals of the spiritual world. Scriabin took piano lessons as a child, joining, in 1884, Nikolay Zverov's class, where Rachmaninov was a fellow student. From 1888 to 1892, Scriabin studied at the Moscow Conservatory, where his teachers included Arensky, Taneyev, and Safonov. Although Scriabin's hand could not easily stretch beyond an octave, he developed into a prodigious pianist, launching an international concert career in 1894. Scriabin started composing during his Conservatory years. Mostly inspired by Chopin, his early works include nocturnes, mazurkas, preludes, and etudes for piano. Typical examples of Romantic music for the piano, these works nevertheless reveal the composer's strong individuality. Toward the end of the century, Scriabin started writing orchestral works, earning a solid reputation as a composer, and obtaining a professorship at the Moscow Conservatory in 1898. In 1903, however, Scriabin abandoned his wife and their four children and embarked on a European journey with a young admirer, Tatyana Schloezer. During his sojourn in Western Europe, which lasted six years, Scriabin started developing an original, highly personal musical idiom, experimenting with new harmonic structures and searching for new sonorities. Among the works composed during this time was the Divine Poem.
In 1905, Scriabin discovered the theosophical teachings of Helena Petrovna Blavatsky, which became the intellectual foundation of his musical and philosophical efforts. In true Romantic tradition, he sought to situate his work as a composer in the wider spiritual and intellectual context of his age. Previously influenced by Nietzsche's ideas about the advent of a superhuman being, Scriabin embraced theosophy as an intellectual framework for his profound feelings about humankind's quest for God. Works from this period, exemplified by the Poem of Ecstasy (1908) and Prometheus (1910), reflect Scriabin's conception of music as a bridge to mystical ecstasy. While the ideas underlying his works may seem far-fetched, Scriabin's musical language included some fascinating, and very tangible, innovations, such as chords based on fourths and unexpected chromatic effects. Lacking an inner forward-moving force, Scriabin's later works nevertheless fascinate the listener by harmonic transformations which aim to reflect certain undefinable aspects of human consciousness. In addition, the composer, who strongly believed in the synaesthetic nature of art, experimented with sounds and colors, indicating, for example, lighting specification for the performance of particular works. Indeed, Scriabin's interest in color was hardly academic, considering that , as an orchestrator, he exploited the full potential of orchestral color. While Scriabin never quite crossed the threshold to atonality, his music nevertheless replaced the traditional concept of tonality by an intricate system of chords, some of which (e.g., the "mystic chord": C-F sharp-B flat-E-A-D) had an esoteric meaning. Scriabin's gradual move into realms beyond traditional tonality can be clearly heard in his ten piano sonatas; the last five, composed during 1912-1913, are without key signatures and certainly contain atonal moments. In 1915, Scriabin died in of septicemia caused by a carbuncle on his lip. Among his unfinished project was Mysterium, a grandiose religious synthesis of all arts which would herald the birth of a new world.
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Gilels Plays Scriabin Sonatas Nos. 3, 4, Preludes
Alexander Scriabin
Classique - Paru chez Pipeline Music le 29 nov. 2006
16-Bit CD Quality 44.1 kHz - Stereo -
Alexander Scriabin Performs Original Piano Works
Alexander Scriabin
Classique - Paru chez Torill Music le 30 août 2019
16-Bit CD Quality 44.1 kHz - Stereo -
Classical Stress Relief: 99 Must-Have Classical Meditation & Relaxation
Alexander Scriabin
Classique - Paru chez Dream Collection le 30 déc. 2016
24-Bit 48.0 kHz - Stereo -
Classical Brain Power - Over 7 Hours of Music for Concentration, Productive Learning, Studying and Working
Alexander Scriabin
Classique - Paru chez Dream Collection le 6 janv. 2017
24-Bit 48.0 kHz - Stereo -
100 Must-Have Lullaby Baby Classics
Alexander Scriabin
Classique - Paru chez Cobra Entertainment LLC le 18 déc. 2012
24-Bit 48.0 kHz - Stereo -
Scriabin: Piano Sonata No. 3 in F-Sharp Minor, Op. 23 – Mussorgsky: Pictures at an Exhibition
Alexander Scriabin
Classique - Paru chez Signum Records le 28 août 2015
24-Bit 96.0 kHz - Stereo -
Scriabin: Preludes. Etudes. Mazurkas.
Alexander Scriabin
Classique - Paru chez Russian Season le 27 juin 2006
16-Bit CD Quality 44.1 kHz - Stereo -
Alexander Scriabin, 24 Preludes, Op.11, 5 Preludes, Op. 74, Poem Op,32 (Produced)
Alexander Scriabin
Classique - Paru chez Phoenix USA le 1 janv. 1990
16-Bit CD Quality 44.1 kHz - Stereo -
Scriabin: 12 Études - Myaskovsky: Piano Sonata No. 3 - Prokofiev: Piano Concerto No. 1
Alexander Scriabin
Musique de chambre - Paru chez Urania le 31 mars 2003
16-Bit CD Quality 44.1 kHz - Stereo -
The Caswell Collection, Vol. 5 (1906-1926)
Alexander Scriabin
Classique - Paru chez Pierian Recording Society le 1 janv. 2003
16-Bit CD Quality 44.1 kHz - Stereo -
The Art of Henry Neighaus, Vol. II: Scriabin, Works for Piano
Alexander Scriabin
Classique - Paru chez Classical Records le 1 juin 2005
16-Bit CD Quality 44.1 kHz - Stereo -
Scriabin: Rare Records
Alexander Scriabin
Classique - Paru chez Mezhdunarodnaya Kniga Musica le 10 oct. 1996
16-Bit CD Quality 44.1 kHz - Stereo -
Russian Piano School: Heinrich Neuhaus, Vol. 4
Alexander Scriabin
Classique - Paru chez Russian Compact Disc le 22 août 1996
16-Bit CD Quality 44.1 kHz - Stereo -
99 Must-Have Gloomy Day Classics
Alexander Scriabin
Classique - Paru chez Cobra Entertainment LLC le 2 déc. 2016
24-Bit 48.0 kHz - Stereo -
Recital in The Great Hall of The Moscow Conservatoire
Alexander Scriabin
Classique - Paru chez Classical Records le 16 oct. 2002
16-Bit CD Quality 44.1 kHz - Stereo -
Russian Piano School: Valery Kastelsky, Vol. 2
Alexander Scriabin
Classique - Paru chez Russian Compact Disc le 9 nov. 1996
16-Bit CD Quality 44.1 kHz - Stereo -
Piano Classics for Babies
Alexander Scriabin
Classique - Paru chez Dream Collection le 4 nov. 2016
24-Bit 48.0 kHz - Stereo -
Valeri Kastelsky Plays Scriabin
Alexander Scriabin
Classique - Paru chez Classical Records le 1 janv. 2007
16-Bit CD Quality 44.1 kHz - Stereo -
Etude in D-sharp minor, Op. 8 No. 12
Alexander Scriabin
Classique - Paru chez Prospero Classical le 25 sept. 2020
24-Bit 96.0 kHz - Stereo -
The Art of Nikolai Golovanov: Scriabin - Symphony No. 2
Alexander Scriabin
Classique - Paru chez MUSIC ONLINE le 7 déc. 2007
16-Bit CD Quality 44.1 kHz - Stereo -
Scriabin: Prelude in E-Flat Minor, Op. 16, No. 4 (Digitally Remastered)
Alexander Scriabin
Classique - Paru chez EMG Classical le 29 juin 2015
16-Bit CD Quality 44.1 kHz - Stereo