“I would like to be born as a thought, to fly around the whole world and fill the entire Universe with myself. I wish I had been born into a wonderful dream of a young life, a movement of holy inspiration, a rush of passionate feeling...”
Alexander Scriabin entered Russian music in the late 1890s and immediately declared himself as an exceptional, brightly gifted personality. A brave innovator, “a brilliant seeker of new ways,” according to N. Myaskovsky,
“with the help of a completely new, unprecedented language, he opens up before us such extraordinary... emotional perspectives, such heights of spiritual enlightenment that it grows in our eyes to a phenomenon of worldwide significance.”
Alexander Scriabin was born on January 6, 1872 into a family of Moscow intelligentsia. The parents did not have the chance to play a noticeable role in the life and upbringing of their son: three months after Sashenka’s birth, his mother died of tuberculosis, and his father, a lawyer, soon left for Constantinople. Caring for little Sasha fell entirely on his grandmothers and aunt, Lyubov Aleksandrovna Scriabin, who became his first music teacher.
Sasha’s ear for music and memory amazed those around him. From an early age, he easily reproduced a melody he heard once by ear, and picked it up on the piano or other instruments. Even without knowing sheet music, at the age of three he spent many hours at the piano, 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,” lamented the aunt. The boy treated the piano like a living creature - before going to bed, little Sasha kissed the instrument. Anton Grigorievich Rubinstein, who once taught Scriabin's mother, who, by the way, was a brilliant pianist, was amazed by his musical abilities.
According to family tradition, 10-year-old nobleman Scriabin was sent to the 2nd Moscow Cadet Corps in Lefortovo. About a year later, Sasha’s first concert performance took place there, and his first experiences as a composer occurred at the same time. The choice of genre – piano miniatures – revealed a deep passion for Chopin’s work (the young cadet put Chopin’s notes under his pillow).
Continuing his studies in the corps, Scriabin began to study privately with the prominent Moscow teacher Nikolai Sergeevich Zverev and in music theory with Sergei Ivanovich Taneyev. In January 1888, at the age of 16, Scriabin entered the Moscow Conservatory. Here Vasily Safonov, director of the conservatory, pianist and conductor, became his teacher.
Vasily Ilyich recalled that Scriabin had
“a special variety of timbre and sound, special, unusually subtle pedaling; he had a rare, exceptional gift - his piano “breathed”...
“Don't look at his hands, look at his feet!”
- said Safonov. Very soon, Scriabin and his classmate Seryozha Rachmaninov took the position of the conservatory “stars” who showed the greatest promise.
Scriabin 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.
Due to a creative conflict with the harmony teacher, Anton Stepanovich Arensky, Scriabin was left without a composer's diploma, graduating from the Moscow Conservatory in May 1892 with a small gold medal in piano class from Vasily Ilyich Safonov.
In February 1894, he performed for the first time in St. Petersburg as a pianist performing his own works. This concert, which took place mainly thanks to the efforts of Vasily Safonov, became fateful for Scriabin. Here he met the famous musical figure Mitrofan Belyaev; this acquaintance played an important role in the initial period of the composer’s creative path.
Mitrofan Petrovich took upon himself the task of “showing Scriabin to people” - he published his works, provided financial support for many years, and in the summer of 1895 organized a large concert tour of Europe. Through Belyaev, Scriabin began relationships with Rimsky-Korsakov, Glazunov, Lyadov and other St. Petersburg composers.
First trip abroad - Berlin, Dresden, Lucerne, Genoa, then Paris. The first reviews from French critics about the Russian composer are positive and even enthusiastic.
“He is all the impulse and the sacred flame,”
“He reveals in his playing the elusive and peculiar charm of the Slavs - the first pianists in the world,”
- write French newspapers. His individuality, exceptional subtlety, and special, “purely Slavic” charm were noted.
In subsequent years, Scriabin visited Paris several times. At the beginning of 1898, a large concert of Scriabin’s works took place, which in some respects was not quite ordinary: 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 played in the other two. The concert was a huge success.
In the fall of 1898, at the age of 26, Alexander Scriabin accepted an offer from the Moscow Conservatory and became one of its professors, taking over the leadership of the piano class.
At the end of the 1890s, new creative challenges forced the composer to turn to the orchestra - in the summer of 1899, Scriabin began composing the First Symphony. At the end of the century, Scriabin became a member of the Moscow Philosophical Society. Communication together with the study of special philosophical literature determined the general direction of his views.
The 19th century was ending, and with it the old way of life. Many, like the genius of that era, Alexander Blok, foresaw “unheard-of changes, unprecedented revolts” - social storms and historical upheavals that the 20th century would bring.
The advent of the Silver Age caused a feverish search for new paths and forms in art: Acmeism and Futurism in literature; cubism, abstractionism and primitivism - in painting. Some focused on the teachings brought to Russia from the East, others on mysticism, others on symbolism, and others on revolutionary romanticism... It seems that never before in one generation have so many different movements in art been born. Scriabin remained true to himself:
“Art should be festive, it should uplift, it should enchant...”
He comprehends the worldview of the Symbolists, becoming more and more firmly convinced of the magical power of music designed to save the world, and is also interested in the philosophy of Helena Blavatsky. 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. However, according to his idea, this should have been not a purely artistic work, but a very special collective “great cathedral action”, in which all of humanity would take part - no more, no less.
In seven days, the period during which God created the earthly world, as a result of this action, people will have to be reincarnated into some new joyful essence, attached to eternal beauty. In this process there will be no division between performers and listeners-spectators.
Scriabin dreamed of a new synthetic genre, where “not only sounds and colors would merge, but aromas, dance movements, poetry, sunset rays and the twinkling of stars.” The idea amazed even the author himself with its grandeur. Afraid to approach him, he continued to create “ordinary” musical works.
At the end of 1901, Alexander Scriabin completed the Second Symphony. His music turned out to be so new and unusual, so daring, that the performance of the symphony in Moscow on March 21, 1903 turned into a scandal. The public's opinions were divided: one half of the hall whistled, hissed and stomped, while the other, standing near the stage, applauded loudly. “Cacophony” was the caustic word the master and teacher Anton Arensky used to describe the symphony. And other musicians found “extraordinarily wild harmonies” in the symphony.
“Well, a symphony... the devil knows what it is! Scriabin can safely shake hands with Richard Strauss. Lord, where did the music go?..”,
– Anatoly Lyadov wrote ironically in a letter to Belyaev. But having studied the music of the symphony more closely, he was able to appreciate it.
However, Scriabin was not at all embarrassed. He already felt like a messiah, a herald of a new religion. Art was such a religion for him. He believed in its transformative power, he believed in a creative person capable of creating a new, beautiful world:
“I’m going to tell them that they... don’t expect anything from life except what they can create on their own... I’m going to tell them that there’s nothing to grieve about, that there’s no loss. So that they are not afraid of despair, which alone can give rise to real triumph. Strong and mighty is the one who has experienced despair and overcome it.”
Less than a year after finishing the Second Symphony, in 1903 Scriabin began composing the Third. The symphony, called “The Divine Poem,” describes the evolution of the human spirit. It was written for a huge orchestra and consists of three parts: “Struggle”, “Pleasure” and “Divine Play”. For the first time, the composer embodies the full picture of his “magical universe” in the sounds of this symphony.
Over the course of several summer months of the same 1903, Alexander Scriabin created more than 35 piano works, including his famous Fourth Piano Sonata, which conveyed the state of an uncontrollable flight to an alluring star, pouring out streams of light - so great was the experience he experienced during this time for creative upsurge.
In February 1904, Scriabin left his teaching job and went abroad for almost five years. He spent the following years in Switzerland, Italy, France, Belgium, and also toured America.
In November 1904, Scriabin completed his Third Symphony. At the same time, he reads a lot of books on philosophy and psychology, his worldview leans towards solipsism - a theory when the whole world is seen as a product of one’s own consciousness.
“I am the desire to become the truth, to identify with it. Everything else is built around this central figure...”
An important event in his personal life dates back to this time: he separated from his wife Vera Ivanovna. The final decision to leave Vera Ivanovna was made by Scriabin in January 1905, by which time they already had four children.
Scriabin's second wife was Tatyana Fedorovna Shletser, the niece of a professor at the Moscow Conservatory. Tatyana Fedorovna had a musical education, and at one time even studied composition (her acquaintance with Scriabin began through classes with him in music theory).
In the summer of 1095, Scriabin and Tatiana Fedorovna moved to the Italian city of Bogliasco. At the same time, two close people of Alexander Nikolaevich die - the eldest daughter Rimma and friend Mitrofan Petrovich Belyaev. Despite the difficult moral state, lack of livelihood and debts, Scriabin writes his “Poem of Ecstasy,” a hymn to the all-conquering will of man:
“And the universe announced
With a joyful cry:
I am!"
His faith in the limitless possibilities of man as a creator reached extreme forms.
Scriabin composes a lot, it is published and performed, but still he lives on the brink of poverty. The desire to improve his material affairs again and again drives him around the cities - he tours in the USA, Paris and Brussels.
In 1909, Scriabin returned to Russia, where real fame finally came to him. His works are performed on the leading stages of both capitals. The composer goes on a concert tour of the Volga cities, at the same time he continues his musical search, moving further and further from accepted traditions.
In 1911, Scriabin completed one of the most brilliant works, which challenged the entire musical history - the symphonic poem “Prometheus”. Its premiere on March 15, 1911 became the largest event both in the life of the composer and in the musical life of Moscow and St. Petersburg.
The famous Sergei Koussevitzky conducted, and the author himself was at the piano. To perform his musical extravaganza, the composer needed to expand the composition of the orchestra, include in the score a piano, a choir and a musical line indicating the color accompaniment, for which he came up with a special keyboard... It took nine rehearsals instead of the usual three. The famous “Promethean chord,” according to contemporaries, “sounded like a real voice of chaos, like some kind of single sound born from the depths.”
“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. A week later, “Prometheus” was repeated in St. Petersburg, and then sounded in Berlin, Amsterdam, London, and New York.
Light music - that was the name of Scriabin's invention - fascinated many, new light-projection devices were designed, promising new horizons for synthetic sound-color art. But many were skeptical about Scriabin’s innovations, the same Rachmaninov, who once, while dissecting Prometheus at the piano in Scriabin’s presence, asked, not without irony, “what color is this?” Scriabin was offended...
The last two years of his life, Scriabin’s thoughts were occupied by the work “Preliminary Action”. It was supposed, based on the name, to be something like a “dress rehearsal” of “Mystery”, its, so to speak, “light” version. In the summer of 1914, the First World War broke out - in this historical event Scriabin saw, first of all, the beginning of processes that were supposed to bring the “Mystery” closer.
“But how terribly great the work is, how terribly great it is!”
– he exclaimed with concern. Perhaps he was standing on a threshold that no one had ever been able to cross...
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. Early in the morning of April 27, Alexander Nikolaevich passed away...
“How can we explain that death overtook the composer precisely at the moment when he was ready to write down the score of the “Preliminary Act” on music paper?
He did not die, he was taken from people when he began to implement his plan... Through music, Scriabin saw a lot of things that are not given to a person to know... and therefore he had to die...”
Scriabin’s student Mark Meichik wrote three days after the funeral.
“I couldn’t believe it when the news came about Scriabin’s death, it was so ridiculous, so unacceptable. Promethean fire went out again. How many times has something evil, fatal stopped the wings that had already unfolded.
But Scriabin’s “Ecstasy” will remain among the victorious achievements.”
- Nicholas Roerich.
“Scriabin, in a frenzied creative outburst, sought not a new art, not a new Culture, but a new earth and a new sky. He had a feeling of the end of the entire old world, and he wanted to create a new Cosmos.
Scriabin's musical genius is so great that in music he was able to adequately express his new, catastrophic worldview, to extract from the dark depths of existence sounds that old music had rejected. But he was not content with music and wanted to go beyond it...”
- Nikolai Berdyaev.
“He was out of this world, both as a person and as a musician. Only in moments did he see his tragedy of isolation, and when he saw it, he did not want to believe in it,”
- Leonid Sabaneev.
“There are geniuses who are genius not only in their artistic achievements, but are genius in every step they take, in their smile, in their gait, in their entire personal imprint. You look at such a person - this is a spirit, this is a being of a special face, a special dimension...”
- Konstantin Balmont.
Composer, pianist, teacher.
Born into a noble family. Father - Nikolai Aleksandrovich Scriabin - served as a diplomat in Turkey. Mother - Lyubov Petrovna (nee Shchetinina) - was an outstanding pianist, graduated from the St. Petersburg Conservatory under T. Leshetitsky (her talent was highly valued by A.G. Rubinstein, A.P. Borodin, P.I. Tchaikovsky).
At the age of 5, Scriabin easily reproduced the music he heard on the piano, improvised, and at the age of 8 he tried to compose the opera “Liza”, imitating classical examples. Having noticed the extraordinary musical talent of the young musician, S.I. Taneyev began to study with him (essentially, he laid the foundations of Scriabin’s compositional technique). Later he sent Scriabin to G. E. Konyus for additional lessons in harmony, who noted: “Everything needed for a musician... lived a natural life in Scriabin, prepared by nature itself. I was left, for the most part, to attach theoretical labels (names, terms, etc.) to what was innately already acquired by them” (Engel Yu. A. N. Scriabin. Biographical sketch. P. 21-22). At the age of 11, according to family tradition, he entered the Second Moscow Cadet Corps, where in his first year of study he performed in concert as a pianist. After home lessons under the guidance of his father’s sister Lyubov Alexandrovna, in 1885 he began piano lessons with N. S. Zverev. In 1888, a year before graduating from the cadet corps, he entered the Moscow Conservatory with two majors: piano and free composition. In 1892 he graduated from the conservatory with a small gold medal in the class of V.I. Safonov, receiving a grade of “five plus” on the final exam (Scriabin’s name is included on the marble plaque of outstanding graduates of the Moscow Conservatory). He also studied with Taneyev (strict style counterpoint) and A. S. Arensky (fugue, free composition). Relations with Arensky, however, did not work out (he gave the student a “three” mark for re-examining the “canon and fugue” disciplines). He also did not fit into the conservatory program for training composers, which irritated Arensky even more: “Unable to take into account the individuality of the student, he did not recognize the maturing great artist in Scriabin” (Ossovsky A.V. Memoirs. Research. P. 327). As a result, Scriabin did not receive permission to take the exam to receive a diploma as a composer, although by the time he entered the Moscow Conservatory he was the author of over 70 works, including mazurkas op. 3, prelude op. eleven.
After graduating from the Moscow Conservatory, due to an exacerbation of the disease of his right hand, which he overplayed during his studies, he went through a difficult period in his life, from which the famous St. Petersburg philanthropist M. P. Belyaev helped him recover (until the end of his days he was a publisher and promoter of the composer’s music) , sending Scriabin on a tour of Europe. On the 2nd tour, which Safonov also organized, Scriabin performed a series of concerts, winning recognition as an excellent composer and pianist. He played almost exclusively his own compositions, captivating listeners with the romantic sophistication and spirituality of his pianistic style.
In 1898, Safonov, bypassing a number of formalities and the dissatisfaction of some teachers, invited Scriabin to teach special piano at the Moscow Conservatory. According to reviews, he was an outstanding teacher: “Scriabin invited me to his class to listen to his students,” wrote Professor of the Vienna Conservatory P. Kohn, “and I spent 4 hours with great pleasure, making sure that he was a respectable teacher and was doing his job.” with great knowledge and love. I’m almost sure that he is the best professor at the Moscow Conservatory” (Quoted from: Scriabin A.N. Letters. M., 1965. P. 217). Scriabin was one of the first to break the tradition of training young pianists primarily using instructional and pedagogical material. Depending on technical capabilities, he selected a highly artistic repertoire for students. According to the memoirs of M. S. Nemenova-Lunts, at the same time he set before them “such tough, inexorable technical requirements that sometimes they seemed positively impossible to fulfill. The focus of his attention was “sound,” which he himself mastered as a magician and wizard” (Nemenova-Lunts M.S. Scriabin - teacher // Soviet music. 1948. No. 5. P. 59). He invented special technical exercises, but also cared about the creative development of the student. There were often conversations in class, primarily about the “title of Artist,” which Scriabin considered very high and responsible (Ibid.). In a short period of work (until 1904), he trained such excellent pianists as Nemenova-Lunts, E. Bekman-Shcherbina and others.
Scriabin combined his teaching activities with intensive composing. He was interested in the works of symbolist poets. He attended philosophical circles (Scriabin was particularly influenced by the philosophy of V. S. Solovyov, he was also a friend of the philosopher S. N. Trubetskoy) and literary debates, which led to the birth of his own philosophical and artistic concept of the “creative spirit” (Third Symphony “Divine Poem” , 1903-04; “Poem of Ecstasy”, 1905-07; “Prometheus”, 1911), piano works. Later, having become acquainted with the book “The Secret Doctrine” by H. P. Blavatsky, he became interested in Eastern religious teachings and came to the idea of a synthesis of music and other types of art, reviving the genre of ancient mystery.
In 1904-09 he lived abroad. He gave concerts in America with an orchestra conducted by A. Nikisch, met S. A. Koussevitzky. In 1909 he performed in Moscow with triumphant success. In 1910 he finally returned to his homeland. He devoted the last years of his life mainly to piano compositions. At the same time, he formed a new system of musical thinking, which was developed in the art of the twentieth century (the complication of the harmonic vertical, removing the need to resolve dissonance, the emergence of dissonant tonic, the expansion of tonality, covering all 12 steps, the formation of new modal structures, the emergence of “harmony-melody” - the so-called Promethean chord , in which the harmonic complex becomes a scale folded into a vertical). In 1910, the young S. S. Prokofiev dedicated the symphonic poem “Dreams” to Scriabin.
Scriabin's death occurred due to sudden blood poisoning and caused great shock in Russian society.
His first wife is V.I. Skryabina (née Isakovich). His second wife is Tatyana Fedorovna Scryabina (née Schlozer), niece of P. Yu. Schlozer; their son, Julian Scriabin (1908-1919), studied at the Kyiv Conservatory in the composition class of R. M. Glier, despite his young age, was a promising composer; died tragically (drowned).
Alexander Nikolaevich Scriabin is a Russian composer, a unique person, whose work was a great success. Scriabin was admired in the Russian Empire; he really was a good composer.
Alexander Nikolaevich was born in December 1871, in Moscow. His father was a lawyer and later worked as a Russian consul in Turkey.
Grandfather was a military man. The composer's mother was an outstanding pianist, but she died a year after the birth of her son. His father, who served as a diplomat in Turkey, far from Moscow, rarely saw Sasha.
The boy's upbringing was mainly done by his paternal grandmother Elizaveta Ivanovna. Grandmother, like all normal grandmothers, doted on little Sasha. She really loved her grandson.
By leaving, Elizaveta Ivanovna managed to protect Scriabin from adversity that could have affected Alexander for the worse.
From an early age, Alexander showed a love for music. The little boy's favorite musical instrument was the piano. They say that Sasha became interested in the piano at the age of four.
At five he was already playing it, even trying to compose something, “fantasizing music.” Another childhood hobby of Alexander Scriabin was theater.
He had a folding children's theater, which he liked to spend his free time playing. In this theater, he staged various sketches.
At the age of 11 he was sent to study in the Cadet Corps. Military education taught Alexander Nikolaevich to discipline and order.
While studying, he did not forget about his musical hobbies. After graduating from the cadet school, he entered the Conservatory. He graduated from it in 1892, and six years later, he taught “piano playing” at the conservatory, with the rank of professor.
Scriabin's early works were distinguished by a certain sophistication, harmony and melody. Although many experts note that these very first works of his were marked by imitation of Chopin. Alexander Nikolaevich managed to overcome the influence of Chopin on his work with the help of the works of Wagner and Liszt. After some time, he will create his own unique and incomparable musical style.
With the beginning of the twentieth century, Scriabin conceived new works. Creates the “First Symphony”, then the second. After some time, he left the Moscow Conservatory, because he could not combine teaching with his creative activity.
In 1904, with the money of patrons, he went abroad to Switzerland. Here Alexander Nikolaevich creates the “Divine Poem” (Third Symphony) and the “Poem of Ecstasy”. This was a new stage in the work of the Russian composer. He has now finally gotten rid of the influences of musical geniuses, and has shown his true individuality.
In 1910, Scriabin wrote “The Poem of Fire.” It was a completely new experience, not only new sounds, but also the use of color music. His music is perceived in a very contrasting way. The work of the Russian composer is love, which was reflected in his music.
Scriabin’s personality intertwined many thoughts and experiences that are so characteristic of a Russian person. On April 14, 1915, the Great Russian composer Alexander Scriabin passed away.
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Dmitry Dmitrievich Shostakovich is one of the most famous Russian composers of the 20th century. Shostakovich's work is known all over the world; moreover, it is extremely popular. The composer was born in early September 1906 in
A. N. Scriabin is a composer whose work is usually considered outside of any direction. Although, if you analyze the performance technique specifically, it can be attributed to the New Vienna School. The uniqueness of this composer’s works lies not only in the complicated harmony, but also in the introduction of color into the music for better expressiveness.
Alexander was born in January 1872. His family did not have the opportunity to have a significant influence on the development of the child’s genius. His mother died of tuberculosis when Alexander was still small. My father was a lawyer and devoted almost all his time to work. The boy himself learned to select the melodies he heard and liked on the piano, which greatly amazed those around him.
The father wanted his son to study at the lyceum. But Alexander himself dreamed of a cadet corps. And his family gave in to his wishes. At the age of 10 he was enrolled in the Moscow Cadet Corps. In the future, the boy planned to enter the conservatory. In this regard, in parallel with his studies in the corps, he began to attend private music lessons from S.I. Taneyev, famous teachers in Moscow.
This event occurred in January 1888, when the young man was already 16 years old. At the same time, he was accepted into the piano class. Alexander's teacher was the conductor and pianist V. I. Safonov. Soon both comrades and teachers drew attention to Scriabin. Together with Rachmaninov, they showed the greatest hope. During his years of study, Scriabin composed a lot.
Almost all works written during this period were intended to be performed on the piano. He first performed his compositions in 1894 in St. Petersburg. Here he met the musical figure, and through him Lyadov, Glazunov, Rimsky-Korsakov and other composers of the capital.
It began in the second half of the 1890s, when the composer gave concerts consisting of his own compositions in many cities of Russia, as well as abroad. He visited Paris and The Hague. Shortly before the tour, Scriabin got married. His chosen one was Vera Ivanovna Isakovich. She was a pianist and performed with her husband. In 1898, Scriabin agreed to an offer from the Moscow Conservatory to lead a piano class and became its professor. During these years he created a cycle of etudes, many preludes, as well as many major works for piano. At the end of the century, he turned to the orchestra and devoted a lot of time to it. Communication with members of the philosophical society, which he joined, and reading relevant literature led Scriabin to the idea of writing “The Mysteries.” From now on they became the main business of his life. In this work, the composer planned to combine several genres into one whole: architecture, dance, music, poetry, etc. At the same time, two symphonies had already been written and work was underway on a third.
Biography of A. N. Scriabin: traveling abroad
In the winter of 1904, the composer went abroad for several years. In the same year he completed the Third Symphony and performed it in Paris in the spring of 1905. On tour, Scriabin visited Belgium, Italy, Switzerland, France and even America. During this period, Alexander Nikolaevich divorced his first wife and married for the second time to T. F. Shletser, who also had musical training, but sacrificed everything for her husband.
In the winter of 1915, the composer gave many concerts, two of them were held in Petrograd with great success. Another performance was scheduled for April. It turned out to be the last one. Immediately after returning to I felt unwell. A carbuncle appeared on the lip, the abscess was malignant, blood poisoning occurred, and the temperature quickly rose to high levels. Alexander Nikolaevich passed away on April 27, early in the morning.
