A n Scriabin interesting facts. Alexander Scriabin: biography, interesting facts, creativity

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.

28887 0

Articles on the topic

In the 19th century, the Russian Empire developed rapidly. The reforms of Alexander II were actively carried out, society began to live in a new way. The nineteenth century gave Russia a galaxy of talented cultural figures. Writers, artists, poets, sculptors

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

Talented Russian composer and pianist. Genus. in 1871 in Moscow; completed a course at the Moscow Conservatory, where he was a professor of piano playing. S.'s main works: symphonies in e-major and c-minor (the first with the participation of the choir in the finale to the words "Towards Art"), piano concerto, mazurkas, preludes, nocturnes. In his piano pieces the influence of Chopin is noticeable; his orchestral works are close to Wagner.

(Brockhaus)

Skryabin, Alexander Nikolaevich

Gifted composer and pianist, b. December 29, 1871 in Moscow; was brought up in the cadet corps, but then entered the Moscow Conservatory, from which he graduated in 1892 in the ph class. Safonov (gold medal), after which he lived abroad for some time, where he performed his piano works in Paris, Brussels, Amsterdam, etc. In 1898-1903, S. was a professor of playing the piano. at the Moscow Conservatory, but currently devoted himself entirely to composition. In his works, S. is partly aligned with Chopin (in the field of piano) and Wagner (in the field of orchestra); large music his individuality is not without a certain shade of sophistication, tension, even pain. Works by S.: A. For orchestra: "Rêverie" op. 24; two symphonies: E major op. 26 (with the participation of the choir in the finale, on the words “Towards Art”) and C minor op. 29; V. For fp. with orchestra: concert fis-moll op. 20; S. For fp.: 3 sonatas (op. 6, op. 19 sonata-fantasy; op. 23), Allegro appassionato (op. 4), concert allegro op. 18, fantasy (op. 28), etudes (op. 8, 12 nos.), Impromptus (op. 7, 10, 12, 14), mazurkas (op. 3-10 nos., op. 25-9 nos. ), preludes (op. 11-24 no.; op. 13-6 no.; op. 15, 16, 17-17 no.; op. 22; op. 27), Polish (op. 21), in addition, nocturnes, waltz (op. 1), etc. S.'s major works were performed not only in Russia, but also abroad (Paris, Berlin, etc.).

Skryabin, Alexander Nikolaevich

(b. 6.I.1872 in Moscow, d. 27.IV.1915 in the same place) - Russian. composer, pianist. He showed interest in music at the age of 5 (played by ear, improvised), and at the age of 11 he began studying with N. Zverev and G. Konyus. Further music He received his education at the Moscow Conservatory, where his main teachers were S. Taneyev (composition), V. Safonov (php.). In 1895-96, on the initiative of the philanthropist M. Belyaev, he made a successful concert tour of foreign countries (Belgium, France, Holland, Germany). From 1898 to 1903 prof. Moscow Conservatory in piano. From 1904 to 1909 he lived in Switzerland, making several trips to other countries (in particular, in the winter of 1906/07 he gave concerts in the USA). In 1910 he returned to Moscow. In the following Over the years, he often and successfully performed with his own concerts in different cities of Russia (the big trip along the Volga with the orchestra of S. Koussevitzky in 1910 stands out) and abroad (Belgium, Holland, England). The author's last concert took place in St. Petersburg a few days before his death. S.'s creativity (the main area is piano music) is distinguished by deep originality, artistic originality, consistent innovation, enormous emotional richness, and philosophical content. His creative path is usually divided into 3 periods: the first (before 1900) is characterized by subtle lyricism, sincerity, clarity of form, elegance of texture, continuity with classical music (contacts with P. Tchaikovsky, F. Chopin, later with F. Liszt, R . Wagner); the second (1900-07) - an increase in creative quests, especially in the field of harmony, an increase in drama, heroic impulses to fight for ethical ideals and, along with this, even greater sophistication in lyrics; the third (1907-14) - a turn (under the influence of idealistic philosophical concepts) towards extreme individualism, separation from reality. S.'s creative discoveries and achievements had a significant influence on the music of the subsequent generation of domestic and many foreign composers.

Works: 222 works, including 3 symphonies (I - with a choral finale - 1900, II - 1902, III - “Divine Poem” - 1904), the poem “Dreams” (1898), “Poem of Ecstasy” ( 1907), "Prometheus" ("Poem of Fire", 1910) with account. fp. and choir; Concert for fp. with orc. (1897); numerous prod. for fp., including 10 sonatas, 19 poems, 90 preludes, 26 etudes, 21 mazurkas, waltzes, etc.

Skryabin, Alexander Nikolaevich

Composer, pianist, mystic philosopher. Author of innovative musical works: “Divine Poem” (3rd symphony, 1904), “Poem of Ecstasy” (1907), “Prometheus” (1910), a number of sonatas, preludes. Genus. in Moscow. Paying tribute to family tradition, he graduated from the 2nd Moscow. cadet corps in 1889, but subsequently had no relation to military service. In 1892 he graduated from Moscow. piano conservatory. Prof. Moscow Conservatory (1898-1903). Concerted a lot in Russia, Western Europe. Europe, America. Formation of philosophy S.'s worldview occurred during the heyday of Russian. poetic symbolism. At the same time, the uniqueness of S.’s personality in Russian. and world culture is due to the rare fact of synthesis of musical and philosophical. visions of the world. According to A. Bandura, S. was the greatest mystic among musicians and the greatest musician among mystic philosophers. Philosophy S. grew out of art, and art continued philosophy. world and man. Musical-philosophical. intuition led S. to the need to comprehend esoteric philosophy. traditions, primarily theosophy. The seriousness of S.’s studies in theosophy is evidenced by the numerous notes left by him on the pages of the volumes of “The Secret Doctrine” of H. P. Blavatsky. In 1904 S. took part in the Second International. Philosopher Congress (Switzerland) as a full participant. S. knew the works of Kant and Fichte well, in the last. studied ind. for a decade of his life. (and Buddhist) philosophy. S.’s inherent polyphony of perception of the multifaceted symphony of the world could not be expressed in any other form other than the mystical: “a stone and a dream are made of the same substance and both are equally real,” he wrote. The abundance of philosophy studied in 1904-1906. texts led to a transition from the ideas of the relationship between being and consciousness to the idea of ​​​​the mystical demiurgic mission of music in the hierarchy of the Universe. Convinced of the identity of his own mystical experience with the experience of H. P. Blavatsky, S. gives it conscious musical forms. S. expresses the unity of the origin of music and physical science. world in a mystical ecstasy of being, abandoning the general tonal structure in favor of a structure that has the geometric properties of a crystal (sound and crystal). Verbally (the poetic "Poem of Ecstasy", created in parallel to the symphonic poem, and the grandiose "Preliminary Action", left without a score) and in the music of the poem "Prometheus", S. solves the magical problem of accelerating evolution, the goal of which is dematerialization and the beginning of a new history of the world and man. This is an attempt to transform man into superman, humanity into god-manhood. By transforming himself, a person transforms the Universe.

I am the feelings brought down by a raging stream,

I am the limit. I'm the top.

I'm feeling

I am the world I am bliss,

I thirst for bliss

Proud consciousness

Divine power

I'm nothing I'm a game,I am freedom,

I'm the limit

I'm the top

I am God...

Anthropological S.'s views bear traces of Orphism, Neoplatonic gnosis and Hermeticism. The essence of their synthesis is that S. builds a philosophy. personal mind that creates the world. Basic here is a unique formulation of the problem of human transcendental abilities, based on the universality of the absolute spirit. human nature (man is the bearer of Light and universal Good, Prometheus the fire-bearer). Therefore creative. in philosophy S. dominates cognition: creative. - supersensible, transformational act; transformation of images of reality into creativity. - nothing more than a re-creation of reality itself. "Everything is my creativity... Everything that exists in my consciousness. Everything is my activity, which in turn is only what it produces... The world (time and space) is the process of my creativity...". Ideas rus. cosmism are clearly visible in the understanding of S. cosmic. essentially human. creative: any creative introduces to cosmic world process.

Feeling initiated into arcane knowledge, S. attached exceptional importance to initiation by means of sound. Based on the theosophical hypothesis that sound belongs to the supersensible world (sound is the creative logos), S. created the language of music capable of transforming man and the Universe into an immaterial state, and the role of the composer was identified with the Demiurge, freed from the power of matter. S.’s own innate ability for a synesthetic perception of the world determined the spirit. landscape of the universal Mystery as light and sound. For the first time in musical practice, S. introduced the light part into the symphonic poem “Prometheus”. The idea of ​​the absolute victory of Light has its own characteristics in S.: we are talking about the transformation of all things into Light and deep humanism - a rebellion against physicality. the lack of freedom of man and his appeal to the titanic divine nature. Death appears to S. as the destruction of physicality. The romantic mysticism of soulfulness (lyrical music) is replaced by cosmic. the mysticism of the Spirit, the harsh breath of renewal of the Universe. Philosophy S.'s art carries within itself the features of mystic-religious. approach and corresponds to the spirit of symbolic synthesis and philosophy. all-unity (All-Art of universal Synthesis). According to S., art is religion, an endlessly lasting liturgical act, a connection with the cosmos through absolute music. Art is an esoteric form of creativity; its secret signs and meanings are revealed in sounds and rhythm - the “spell of time.” Art is the true life of nature. The breadth of musical and mystical experience underlying the philosophy. S., noted A.F. Losev (Scriabin’s worldview // Form. Style. Expression. M., 1995. P.734-779). S. died in Moscow.

E.V.Zorina

Op.: Notes by A.N. Scriabin //"Russian propylaea"T.6. Materials on the history of Russian thought and literature. Collected by M. Gershenzon. M., 1919 ;Correspondence between A.N. Scriabin and M.P. Belyaev. 1894-1903. Pg., 1922 ;Letters from A.N. Scriabin. M., 1923.

Large biographical encyclopedia. 2009 .

See what “Scriabin, Alexander Nikolaevich” is in other dictionaries:

Skryabin, Alexander Nikolaevich- Alexander Nikolaevich Scriabin. SKRYABIN Alexander Nikolaevich (1871/72 - 1915), Russian composer, pianist. Scriabin's work embodies the ideas of ecstatic aspiration to unknown cosmic spheres, the idea of ​​the transformative power of art. His… … Illustrated Encyclopedic Dictionary

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 at G. E. Konyus, then at N. S.... ... Great Soviet Encyclopedia

- (1871/72 1915) Russian composer, pianist. Scriabin's work embodies the ideas of ecstatic aspiration to unknown cosmic spheres, the idea of ​​the transformative power of art. His music is characterized by tension of tone, a range of images from... ... Big Encyclopedic Dictionary

Scriabin (Alexander Nikolaevich) is a talented Russian composer and pianist. Born in 1871 in Moscow; completed a course at the Moscow Conservatory, where he was a professor of piano playing. S.’s main works: symphony in e major and c minor (first with... ... Biographical Dictionary

- (1871/1872 1915), composer, pianist. Scriabin’s work embodies the ideas of ecstatic aspiration to unknown “cosmic” spheres, the idea of ​​the transformative power of art. His music is characterized by tension in tone, a range of images from... ... Encyclopedic Dictionary

Wikipedia has articles about other people with this surname, see Scriabin. Alexander Scriabin ... Wikipedia

A. N. Scriabin. Scriabin Alexander Nikolaevich (1871/72, Moscow 1915, ibid.), composer. Born into the family of a law student (later a diplomat) Nikolai Aleksandrovich Scriabin, from an old noble family, and a pianist, pupil... ... Moscow (encyclopedia)

Alexander Nikolaevich Skryabin

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 in a matter of days interrupted his life, 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 Fedorovna 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 notes. 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 developed quite dramatically - 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 Fedorovna 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 N.A. 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

Biography, life story of Alexander Nikolaevich Scriabin

Alexander Nikolaevich Scriabin is a great Russian composer and pianist.

Preface

In his music, Russia heard its present, saw its future... It seemed to his contemporaries that he left too early, leaving them on the path that he himself had outlined, without completing his plan, without reaching the goal. His life is indeed short, but it is the life of a genius, and here ordinary measures are not suitable. Scriabin's music is original and deeply poetic. It contains dazzling jubilation and crystal lyricism, refined artistry and an impulse towards light, joy, and happiness.

Childhood and youth

He was born in Moscow on January 6, 1872 (December 25, 1871, old style) in the family of a diplomat, lost his mother early, and was taken in by his own aunt Lyubov Aleksandrovna Scryabina, who gave him his first music lessons. She recalled that already from infancy he was drawn to the sounds of the piano. And at the age of three he was already sitting for hours at the instrument. The boy treated the piano as a living creature. He himself made them in childhood - small toy pianos... Anton Rubinstein, who once taught Scriabin's mother, who, by the way, was a brilliant pianist, was amazed by his musical abilities.

When the boy was ten years old, according to family tradition, he was sent to the Moscow cadet corps in Lefortovo. At the same time, his regular musical studies began in parallel in the class of the famous teacher of the Moscow Conservatory N.S. Zverev, with whom he was already studying at that time. These two boys will become the glory of Russian music, although fans of their work will place the composers on opposite sides of the barricade, calling them an archaic and a traditionalist, and Scriabin an innovator, a discoverer of new paths. And the composers themselves will stop communicating. It’s only in school textbooks that the geniuses of the past live like one big happy family...

Scriabin began composing music early - at the age of seven he wrote his first opera, calling it after the girl with whom he was then in love. In his early youth, his favorite composer was, later -. He studied the art of composition from S.I. Taneyev, and graduated from the Moscow Conservatory in 1892 in piano, receiving a small gold medal.

CONTINUED BELOW

At the age of 19 he experienced a great feeling of love. His chosen one was fifteen-year-old Natasha Sekerina. He was refused his proposal, but the feeling he felt for her remained with him for the rest of his life and never happened again. Scriabin begins to tour early and successfully. First trip abroad – Berlin, Dresden, Lucerne, Genoa. Then Paris. Reviewers, as well as the public, are favorable to him. "He is all the impulse and the sacred flame", writes one. “He reveals in his playing the elusive and peculiar charm of the Slavs - the first pianists in the world”, says another. At the same time, Scriabin writes a lot, and his works immediately enter the repertoire of other pianists. In 1897, his famous Second Sonata (there will be 10 in total) and Concerto for Piano and Orchestra were completed. In the same year, he married Vera Ivanovna Isakovich, a brilliant pianist, also a graduate of the Moscow Conservatory. They have known each other for a long time, they have common interests, but the marriage will be unsuccessful and will end in divorce after seven years.

The 19th century was ending and with it the old way of life. Many, like another genius of that era, had a presentiment "unheard of changes, unprecedented revolts", that is, the social storms and historical upheavals that the twentieth century will bring with it. Some fell into the teachings brought to Russia from the East, from India, others - into domestic mysticism, others - into symbolism, fourth - into revolutionary romanticism, fifth... It seems that never before in one generation have so many different directions in art. Scriabin remained true to himself. "Art should be festive, he said, must lift, must enchant".

But in fact, his music turned out to be so new and unusual, so daring that, for example, the performance of his Second Symphony in Moscow on March 21, 1903 turned into a scandal. The opinions of the public were divided: one half of the hall whistled, hissed and stomped, while the other, standing near the stage, applauded loudly. Cacophony - this is the terrible word the master and teacher called the symphony, and after him dozens of other musical authorities. But 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. He thought on the then fashionable planetary scale. "I'm going to tell them, he wrote during these years, so that they... don’t expect anything from life except what they can create on their own... I’m going to tell them 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 mighty is he who has experienced despair and conquered it.". With such a scale, the sorrows of life seemed to disappear on their own.

Under the influence of such militant optimism, Scriabin wrote in 1903 his famous Fourth Piano Sonata, which conveys the state of an uncontrollable flight towards an alluring star, pouring out streams of light. Such is the Third Symphony, called by the composer “The Divine Poem” (1904). Having overcome the tragedy of existence, a person becomes equal to God - then the triumphant beauty of the world opens before him.

In the memories of Scriabin there is an episode when he lived with his second wife in 1905-1906 in the Italian town of Bogliasco. More than once, on walks around the area, he was accompanied by the Russian philosopher G.V., who found himself in exile. Plekhanov, propagandist of Marxism. At that time, Scriabin was writing his “Poem of Ecstasy” and his faith in the limitless possibilities of the human creator reached extreme forms. On one of his walks, passing over a high bridge over a dry stone riverbed, Scriabin suddenly announced to his companion: “I can throw myself off this bridge and not fall head first on the stones, but hang in the air thanks to the power of will...”. The philosopher listened carefully to Scriabin and calmly said: "Try it, Alexander Nikolaevich...". Scriabin did not dare to try.

But next to the grandiose, seemingly transpersonal and superhuman in Scriabin’s music there was a gentle, intimate sound. It was the most subtle lyricism, the poetry of fragile feelings and moods, their whimsical changeable nuances, the poetry of languor and languor, anxiety and convulsive search.

Scriabin composes a lot, it is published and performed, but still he lives on the verge of poverty, and the desire to improve his material affairs again and again drives him around cities and villages. Tours in the USA, Paris, Brussels. "The Poem of Ecstasy" triumphantly marches through European capitals, and Scriabin is already in the fever of a new work - he is writing his "Prometheus" ("Poem of Fire", 1910). “Prometheus” is considered the central image of all of Scriabin’s music, because this titan, who, for reasons that are not entirely clear, stole fire from the gods from Olympus and gave it to people, was so similar to Scriabin’s creator. To perform his musical extravaganza, the composer needed to expand the orchestra, include a choir, a piano, and, in addition, introduce a musical line into the score that indicated the color accompaniment, for which he invented a special keyboard... This was the first time in the history of music, although some, let alone The conditional connection between musical sound and color was established by the ancient Greeks.

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 many years later began to belong 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; here and there new light-projection devices were designed, promising new horizons for synthetic sound-color art. However, in the 21st century, the color accompaniment of music is such a common phenomenon that no one pays attention to it anymore. In addition, as it turned out, pop songs and dances in the disco style are best suited to the color, and even with smoke.

But even at that time, many were skeptical about Scriabin’s innovations - the same one who once, while dismantling “Prometheus” at the piano in Scriabin’s presence, asked, not without irony, what color it was. Scriabin was offended...

Family, children

Alexander did not live long with his first wife Vera, only a few years. In such a short period of time, Vera Isakovich managed to give her husband four children - three girls and one boy. Only one girl lived to adulthood; the rest of the children died at a tender age.

The composer's second wife, Tatyana Shletser, gave birth to three children - two girls and a boy. Scriabin's second son turned out to be very talented; from an early age he played the piano amazingly and composed magnificent music. Alas, the promising heir to a sonorous surname died at the age of eleven.

Sunset of life

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...

It seems that none of the contemporary composers interested him. Of those who came before him, he named only two or three names. He unobtrusively imagined himself as a messiah, believing that his main work was ahead. Impressed by the still undeciphered philosophy of E.P. Blavatsky, who then captured the imagination of many, wrote a certain “Mystery” in which all humanity was supposed to take part. In seven days, the period during which God created the earthly world. As a result of this action, people were supposed to be reincarnated into some new joyful essence, attached to eternal beauty. Scriabin dreamed of a new, synthetic genre, where not only sounds and colors would merge, but also the smells and plasticity of dance. “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...

It is also strange that the seemingly composed “Mystery” was never written down. Only musical excerpts from the so-called “Preliminary Act” to the “Mystery” have survived. On April 27 (April 14, old style), 1915, in the prime of his strength and talent, Scriabin died of general blood poisoning. He was forty-three years old. Within five years before and after him, several more geniuses of that sick generation of Russia died: forty-year-old Vrubel and

Scriabin's music is an uncontrollable, deeply human desire for freedom, for joy, for enjoying life. ...She continues to exist as a living witness to the best aspirations of her era, in which she was an “explosive”, exciting and restless element of culture.
B. Asafiev

A. Scriabin entered Russian music in the late 1890s. and immediately declared himself as an exceptional, brightly gifted person. A brave innovator, “a brilliant seeker of new paths,” according to N. Myaskovsky, “with the help of a completely new, unprecedented language, he opens before us such extraordinary... emotional perspectives, such heights of spiritual enlightenment that it grows in our eyes to a phenomenon of global significance " Scriabin's innovation manifested itself in the field of melody, harmony, texture, orchestration, and in the specific interpretation of the cycle, and in the originality of plans and ideas, which largely coincided with the romantic aesthetics and poetics of Russian symbolism. Despite his short career, the composer created many works in the genres of symphonic and piano music. He wrote 3 symphonies, “Poem of Ecstasy”, poem “Prometheus” for orchestra, Concerto for piano and orchestra; 10 sonatas, poems, preludes, etudes and other works for piano. Scriabin's work turned out to be in tune with the complex and turbulent era of the turn of two centuries and the beginning of a new one, the 20th century. Intensity and ardor of tone, titanic aspirations for freedom of spirit, for the ideals of goodness and light, for the universal brotherhood of people permeate the art of this musician-philosopher, bringing him closer to the best representatives of Russian culture.

Scriabin was born into an intelligent patriarchal family. His early deceased mother (a talented pianist, by the way) was replaced by his aunt, Lyubov Aleksandrovna Scryabina, who also became his first music teacher. My father served in the diplomatic service. The little one showed a love for music. Sasha from an early age. However, according to family tradition, at the age of 10 he was sent to the cadet corps. Due to poor health, Scriabin was relieved from painful military service, which made it possible to devote more time to music. In the summer of 1882, regular piano lessons began (with G. Konyus, a famous theorist, composer, pianist; later with conservatory professor N. Zverev) and composition (with S. Taneyev). In January 1888, young Scriabin entered the Moscow Conservatory in the class of V. Safonov (piano) and S. Taneyev (counterpoint). After taking a counterpoint course with Taneyev, Scriabin moved to A. Arensky’s free composition class, but their relationship did not work out. Scriabin brilliantly graduated from the conservatory as a pianist.

Over the decade (1882-92), the composer composed many musical pieces, most of all for piano. Among them are waltzes and mazurkas, preludes and etudes, nocturnes and sonatas, which already have their own “Scriabin note” (although at times one can feel the influence of F. Chopin, whom the young Scriabin loved so much and, according to contemporaries, performed beautifully). All of Scriabin's performances as a pianist - at a student evening or in a circle of friends, and later on the largest stages in the world - were held with constant success; he knew how to powerfully capture the attention of listeners from the very first sounds of the piano. After graduating from the conservatory, a new period began in the life and work of Scriabin (1892-1902). He embarks on an independent path as a composer-pianist. His time is filled with concert trips at home and abroad, composing music; his works begin to be published by the publishing house of M. Belyaev (a wealthy timber merchant and philanthropist), who appreciated the genius of the young composer; connections with other musicians are expanding, for example with the Belyaevsky Circle in St. Petersburg, which included N. Rimsky-Korsakov, A. Glazunov, A. Lyadov and others; recognition is growing both in Russia and abroad. The trials associated with the disease of the “overplayed” right hand are left behind. Scriabin has the right to say: “Strong and mighty is he who has experienced despair and defeated it.” In the foreign press he was called “an exceptional personality, an excellent composer and pianist, a great personality and a philosopher; he is all the impulse and the sacred flame.” During these years, 12 etudes and 47 preludes were composed; 2 pieces for the left hand, 3 sonatas; Concerto for piano and orchestra (1897), orchestral poem “Dreams”, 2 monumental symphonies with a clearly expressed philosophical and ethical concept, etc.

The years of creative flourishing (1903-08) coincided with a high social upsurge in Russia on the eve of and implementation of the first Russian revolution. Scriabin lived most of these years in Switzerland, but was keenly interested in revolutionary events in his homeland and sympathized with the revolutionaries. He shows increasing interest in philosophy - he again turns to the ideas of the famous philosopher S. Trubetskoy, meets G. Plekhanov in Switzerland (1906), studies the works of K. Marx, F. Engels, V. I. Lenin, Plekhanov. Although the worldviews of Scriabin and Plekhanov stood at different poles, the latter highly appreciated the personality of the composer. Leaving Russia for several years, Scriabin sought to free up more time for creativity, to escape from the Moscow situation (in 1898-1903, among other things, he taught at the Moscow Conservatory). The emotional experiences of these years were also associated with changes in his personal life (leaving his wife V. Isakovich - an excellent pianist and promoter of his music - and rapprochement with T. Schletser, who played a far from clear role in Scriabin’s life). Living mainly in Switzerland, Scriabin repeatedly went with concerts to Paris, Amsterdam, Brussels, Liege, and America. The performances were a great success.

The tense social atmosphere in Russia could not but affect the sensitive artist. True creative peaks were the Third Symphony (“Divine Poem”, 1904), “Poem of Ecstasy” (1907), the Fourth and Fifth Sonatas; Etudes, 5 poems for piano were also composed (among them “Tragic” and “Satanic”), etc. Many of these works are close to the “Divine Poem” in their figurative structure. The 3 parts of the symphony (“Struggle”, “Pleasure”, “Divine Game”) are welded together thanks to the leading theme of self-affirmation from the introduction. In accordance with the program, the symphony tells the story of the “development of the human spirit,” which, through doubt and struggle, overcoming the “joys of the sensory world” and “pantheism,” comes to “a certain free activity - a divine game.” The continuous succession of parts, the application of the principles of leitmotif and monothematism, improvisational flowing presentation seem to erase the edges of the symphonic cycle, bringing it closer to a grandiose one-part poem. The mode-harmonic language becomes noticeably more complicated with the introduction of tart and sharp-sounding harmonies. The composition of the orchestra is significantly increased by strengthening the groups of wind and percussion instruments. Along with this, individual solo instruments associated with one or another musical image are distinguished. Relying mainly on the traditions of late romantic symphonism (F. Liszt, R. Wagner), as well as P. Tchaikovsky, Scriabin created a work that established him in Russian and world symphonic culture as an innovative composer.

“Poem of Ecstasy” is a work of unprecedented boldness in concept. It has a literary program, expressed in poetry and similar in idea to the concept of the Third Symphony. The final words of the text sound like a hymn to the all-conquering will of man:

And the universe announced
With a joyful cry
I am!

The abundance of theme-symbols within a one-part poem - laconic expressive motives, their diverse development (polyphonic techniques play an important role here), and finally, colorful orchestration with dazzlingly bright and festive climaxes convey that state of mind that Scriabin calls ecstasy. An important expressive role is played by a rich and colorful harmonic language, where complex and unstable consonances already predominate.

With Scriabin's return to his homeland in January 1909, the final period of his life and work begins. The composer focused his main attention on one goal - the creation of a grandiose composition designed to change the world and transform humanity. This is how a synthetic work appears - the poem “Prometheus” with the participation of a huge orchestra, choir, solo piano, organ, as well as lighting effects (the light part is written out in the score). In St. Petersburg, Prometheus was first performed on March 9, 1911 under the baton of S. Koussevitzky, with Scriabin himself participating as a pianist. “Prometheus” (or “The Poem of Fire”, as the author called it) is based on the ancient Greek myth of the Titan Prometheus. The theme of man's struggle and victory over the forces of evil and darkness, retreating before the radiance of fire, inspired Scriabin. He completely renews his harmonic language here, departing from the traditional tonal system. Many themes are involved in the intense symphonic development. “Prometheus is the active energy of the universe, the creative principle, it is fire, light, life, struggle, effort, thought,” Scriabin said about his “Poem of Fire.” Simultaneously with the thinking and composing of “Prometheus”, the Sixth-Tenth sonatas, the poem “To the Flame”, etc. were created for piano. In the last years of his life, the composer worked on the “Preliminary Act”; he wrote down the text and composed the music, but did not record it. Intense work as a composer throughout the years, constant concert performances and associated travel (often for the purpose of financially supporting the family) gradually undermined his already fragile health.

Scriabin died suddenly from general blood poisoning. The news of his early death in the prime of his creative powers shocked everyone. All of artistic Moscow accompanied him on his last journey; many young students were present. “Alexander Nikolaevich Scriabin,” wrote Plekhanov, “was a son of his time. ...Scriabin's work was his time, expressed in sounds. But when the temporary, transient finds its expression in the work of a great artist, it acquires permanent meaning is done enduring».

T. Ershova

Major works of Scriabin

Symphonic

Concerto for piano and orchestra, F sharp minor, Op. 20 (1896-1897).
"Dreams", E minor, Op. 24 (1898).
First Symphony, E major, Op. 26 (1899-1900).
Second Symphony, C minor, Op. 29 (1901).
Third Symphony (Divine Poem), C minor, Op. 43 (1902-1904).
Poem of Ecstasy, C major, Op. 54 (1904-1907).
"Prometheus" (Poem of Fire), op. 60 (1909-1910).

Piano

10 sonatas: No. 1 in F minor, Op. 6 (1893); No. 2 (fantasy sonata), G sharp minor, Op. 19 (1892-1897); No. 3, F sharp minor, Op. 23 (1897-1898); No. 4, F sharp major, Op. 30 (1903); No. 5, op. 53 (1907); No. 6, op. 62 (1911-1912); No. 7, Op. 64 (1911-1912); No. 8, Op. 66 (1912-1913); No. 9, op. 68 (1911-1913): No. 10, Op. 70 (1913).

91 preludes: Op. 2 No. 2 (1889), Op. 9 No. 1 (for left hand, 1894), 24 preludes, Op. 11 (1888-1896), 6 preludes, op. 13 (1895), 5 preludes, op. 15 (1895-1896), 5 preludes, op. 16 (1894-1895), 7 preludes, op. 17 (1895-1896), prelude in F sharp major (1896), 4 preludes, op. 22 (1897-1898), 2 preludes, op. 27 (1900), 4 preludes, op. 31 (1903), 4 preludes, op. 33 (1903), 3 preludes, op. 35 (1903), 4 preludes, op. 37 (1903), 4 preludes, op. 39 (1903), Prelude, Op. 45 No. 3 (1905), 4 Preludes, Op. 48 (1905), Prelude, Op. 49 No. 2 (1905), Prelude, Op. 51 No. 2 (1906), Prelude, Op. 56 No. 1 (1908), Prelude, Op. 59 "No. 2 (1910), 2 preludes, op. 67 (1912-1913), 5 preludes, op. 74 (1914).

26 studies: etude, op. 2 No. 1 (1887), 12 etudes, Op. 8 (1894-1895), 8 etudes, op. 42 (1903), etude, op. 49 No. 1 (1905), etude, op. 56 No. 4 (1908), 3 studies, op. 65 (1912).

21 mazurkas: 10 Mazurkas, Op. 3 (1888-1890), 9 mazurkas, op. 25 (1899), 2 mazurkas, op. 40 (1903).

20 poems: 2 poems, op. 32 (1903), Tragic Poem, op. 34 (1903), Satanic Poem, op. 36 (1903), Poem, op. 41 (1903), 2 poems, op. 44 (1904-1905), Bizarre Poem, op. 45 No. 2 (1905), "The Winged Poem", Op. 51 No. 3 (1906), Poem, op. 52 No. 1 (1907), "Poem of Longing", op. 52 No. 3 (1905), Poem, op. 59 No. 1 (1910), Nocturne Poem, Op. 61 (1911-1912), 2 poems: “The Mask”, “Strangeness”, op. 63 (1912); 2 poems, op. 69 (1913), 2 poems, op. 71 (1914); poem "To the Flame", op. 72 (1914).

11 impromptu: impromptu in the form of a mazurka, op. 2 No. 3 (1889), 2 impromptu mazurkas, Op. 7 (1891), 2 impromptu op. 10 (1894), 2 impromptu op. 12 (1895), 2 impromptu op. 14 (1895).

3 dances: “Dance of Longing”, Op. 51 No. 4 (1906), 2 dances: "Garlands", "Gloomy Flame", Op. 73 (1914).

2 waltzes: Op. 1 (1885-1886), op. 38 (1903). “Quasi valse”, op. 47 (1905).

2 Album leaves: Op. 45 No. 1 (1905), op. 58 (1910)

“Allegro appassionato”, Op. 4 (1887-1894).
Concert Allegro, Op. 18 (1895-1896).
Fantasia, op. 28 (1900-1901).
Polonaise, op. 21 (1897-1898).
Scherzo, Op. 46 (1905).
"Dreams", op. 49 No. 3 (1905).
"Fragility", op. 51 No. 1 (1906).
"Riddle", op. 52 No. 2 (1907).
"Irony", "Nuances", op. 56 No. 2 and 3 (1908).
“Desire”, “Weasel in Dance” - 2 pieces, op. 57 (1908).