Scriabin essays

Scriabin essays The history of western music is riddled with the eccentric personalities of composer and performer alike. None, however, are quite so extraordinary as Alexander Scriabin (1871-1915). A composer of massively ambitious works who is nonetheless best regarded for his piano miniatures and sonatas, Scriabin embodied many contradictions. He was at once avant-garde and conservative, worldly and naive. Faubion Bowers, Scriabins principal biographer, asks and answers, "Who was he, this central Scriabin? A composer, pianist, poet, mystic, solipsist, and semi-, theo-philosopher." Scriabin was indeed all of these things, but only two of these hats fit him well. He was a pianist of remarkable ability, and equally adept as a composer, while his mysticism has served only to trivialize his music. In spite of the high quality of his compositions, Scriabin is by no means a household name. Though he has long been a favorite of many pianists, comparatively few people outside of his native countr y of Russia would know much about him or his music. Nevertheless, Scriabin was an innovator of great importance in Russia, even if his influence was more muted in the West. As his compositional idiom developed, during Scriabins final years, "his music pushed further into the realms of atonality than any Russian composer had dared to go." Yet, despite his achievements, Scriabins place in annals of Western music is relatively minor and oft debated, mostly due to the fact that few, if any, composers ever followed in his path. Like many composers, Scriabins works are often problematically separated into different periods; in his case, early, middle and late. The problem arises due to the fact that there are no clear breaks in Scriabins portfolio to make such easy separations. Rather, his creative work was in constant development, maturing from a conservative Chopinesque style into an idiom that was innovative and thorough...