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Journal articles on the topic 'Scriabin'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Galeyev, B. M., and I. L. Vanechkina. "Was Scriabin a Synesthete?" Leonardo 34, no. 4 (August 2001): 357–61. http://dx.doi.org/10.1162/00240940152549357.

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This survey and summary of documentary material on Scriabin's “color hearing” is being presented for consideration by researchers studying his ideas of light-music synthesis. On the basis of their analysis, the authors conclude that the nature of Scriabin's “color-tonal” analogies was associative, i.e. psychological; accordingly, the existing belief that Scriabin was a distinctive, unique “synesthete” who really saw the sounds of music—that is, literally had an ability for “co-sensations”—is placed in doubt.

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2

Motorna, Tetiana. "Managerial aspect of missionary activity of A. Scriabin." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 240–45. http://dx.doi.org/10.32461/2226-0285.1.2021.238630.

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The purpose of the article is to identify the historical and cultural specifics of A. Scriabin's missionary activity in dealing with the features of music management as a value, creative phenomenon of spiritual culture, which has a practical implementation in the conditions of socio-cultural interaction. The methodology includes analytical, comparative-historical, and genre-nominative musicological approaches determined by aesthetic-cultural and philosophical positions, as we have in the works of P. Valeri, O. Losev, L. Sabaneev, in the dissertations of D. Androsova, V. Batanov, Liu Binqian, etc. The methodological foundations of the research are the theory of knowledge, philosophical principles of dialectics of unity and interaction of object and subject, general and individual, spiritual and material, cultural and historical. The scientific novelty lies in the distinctive historical and cultural features of Music Management in the missionary efforts of Fr. Scriabin, directed by the Christian-Hesychast incentives of his ideological attitudes, which fueled both the creative and practical activities of both a brilliant artist and organizational and peacekeeping efforts to protect the "intellectual rebirth" of people during the bloody realities of the first World War. Conclusions. The Christian-Hesychast, including the genesis of the ideological foundations of Fr. Scriabin, who gave the features of music management, organizational and managerial principles determined by the national mentality of the need to "save humanity" through religious unity in an ecumenical-expanding interpretation of planetary-significant actions ("Religare"-communication). Scriabin saw the value-semantic load of organizational and managerial means in the dispatch of the mystery as a planetary-unifying factor-despite the socio-political discord of the first World War. Extra-artistic indicators of missionary activity by their nature are indicated. Scriabins demonstrate the paradigmatic component of combinations of creative-practical and organizational-educational, theoretical-cultural-creative, etc. in the person of outstanding personalities of the last century, the phenomenon of which is indicated in the "Leonardo da Vinci system" by P. Valerie as a marking index of the psychological attitude of a creative person in the last century.

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3

Vanechkina, I. L., and B. M. Galeyev. ""Prometheus": Scriabin + Kandinsky." Leonardo 31, no. 3 (1998): 183. http://dx.doi.org/10.2307/1576568.

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4

Trifunović, Branislava. "The Scriabin postcard: The importance of Alexander Nikolayevich Scriabin in the intellectual circles of the Russian fin de siècle." Zbornik Akademije umetnosti, no. 10 (2022): 188–201. http://dx.doi.org/10.5937/zbaku2210188t.

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Due to the rich and stylistically heterogeneous artistic creativity of Alexander Nikolayevich Scriabin, his affinity towards various philosophical and religious narratives, as well as to his interest and accomplishments in the domain of poetry, the discourse created around the name and works of Scriabin has been abundant with exceptional diversity in artistic, critical and ideological context. Contemporary researchers, dealing with such often conflicting views on the art and worldview of Alexander Scriabin, are faced with numerous issues and doubts. In this paper, two questions are posed that need to be unravelled in order to finally demystify Scriabin: how and in what way did Scriabin, an apparently apolitical artist, participate in the aspirations of the Russian intelligentsia and artists of the Silver Age to create a social utopia and to what did this composer owe a distinguished social status in his time? The answers to these questions lead to the conclusion that Scriabin was a reactionary, modernist figure, who, by representing his own conception of social transformation and future utopia, mediated between the idealist and materialist currents of the Russian intelligentsia.

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5

Motorna, Tetiana. "Sacred foundations of A. Scriabin's fret system in relation to O. Messian's modality." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 210–14. http://dx.doi.org/10.32461/2226-2180.39.2021.238723.

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The purpose of the article is to understand the archetypal root of the whole-tone constructions of Fret structures of A. Scriabin and A. Messian in reflecting the detachment from the harmonic system that is relevant for the twentieth century in favor of a linear-melodic approach, determined by the archaic structures of the Indo-Iranian melodic basis. The methodology of the research is a cultural and historical concept in the traditions of A. Losev, in which certain means of expressing art are tested by the cultural genesis and cultural ideas of the time. We use analytical, comparative-historical, and genre-nominative musicological approaches based on aesthetic, cultural, and philosophical positions. The hermeneutical lines of the intonation approach in musicology in the traditions of B. Asafyev and B. Yavorsky in Ukraine, which are in contact with the verbal-centrist approach to music in the French tradition and are clearly expressed by J.-J. Rousseau and his followers of the level of Y. Kristeva, are also important for the work. The scientific novelty is determined by the primacy of the author of the study in the statement of the origins of the sacred determination of Fret thinking and O. Scriabin, and O. Messian in the cultural incentives of Indo-Iranian archaism. This stimulated "scythism" in the Slavic art world of the early twentieth century and Celtic-eastern references to the developments of C. Debussy, determining the Indo-philosophical orientation of Fr. Messian's franciscanism. Conclusions. Cultural and social sources of interval-fret constructions by A. Scriabin and A. Messian point in both cases to the Iranian-Indian basis of European archaism, which in the French composer finds a frank bias towards Hindu-philosophical and rhythmic borrowing. IN O. Scriabin paradoxically closes the search for Scythian-Iranian roots of archaic semantic positions, multi-vector discussed in the circles of Russian Futurists (led by N. Kulbin) and Polish Symbolists. The semitone-whole-tone melodic basis, which encourages support for the quart in A. Scriabin and K. Debussy, fueled the discovery of a new modality of A. Messian, which established in the vanguard of the second wave Scriabin's "nerve" as a mysterious and liturgical interpretation of the musical expression in "Light" by K. Stockhausen, the memorial symbolism of L. Nono and absurdist abstractionism of the works of P. Boulez, others.

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6

Trifunovic, Branislava. "Composer of the revolution: Scriabin’s idea of the Mysterium - the total work of art." Muzikologija, no. 26 (2019): 161–81. http://dx.doi.org/10.2298/muz1926161t.

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The purpose of this paper is to demonstrate that Alexander Scriabin with his conception of the total work of art, named Mysterium, unconsciously provided the artistic vision of revolutionary claims, anticipating the October Revolution of 1917. Since the first decade of the 20th century, the revolutionary conscience was a singular feature of the Russian intelligentsia, so the concept of Mysterium was, in such social climate, a concept of force that prompted the artist to seek a better world. Just like avant-garde artists - whose actions are an intervention in social systems - in his Mysterium Scriabin emphasized the need for a transformation of the world through art. Bearing this in mind, the musicological interpretation of Mysterium here is made with the aim of positioning Scriabin as a modernist subject. The insights into the composer?s responses to socio-political reality - both within Scriabin?s philosophical and creative narratives - refer to the demands of the revolutionaries for the collective/sobornost. This study shows that those demands were, in the case of Scriabin, shaped as the idea of the utopian function of art.

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7

Guenther, Roy, Boris de Schloezer, and Nicolas Slonimsky. "Scriabin: Artist and Mystic." Notes 47, no. 3 (March 1991): 758. http://dx.doi.org/10.2307/941882.

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8

Vanechkina, Irina L. "Scriabin Celebrations in Moscow." Leonardo Music Journal 8 (1998): 76. http://dx.doi.org/10.2307/1513406.

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9

Barnes, Christopher J., Boris de Schloezer, and Nicolas Slonimsky. "Scriabin: Artist and Mystic." Modern Language Review 85, no. 3 (July 1990): 815. http://dx.doi.org/10.2307/3732318.

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10

Emerson, Caryl, Boris de Schloezer, and Nicolas Slonimsky. "Scriabin: Artist and Mystic." Slavic and East European Journal 33, no. 2 (1989): 316. http://dx.doi.org/10.2307/309360.

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11

Szabó, Eszter. "Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 123–32. http://dx.doi.org/10.24193/subbmusica.2021.2.09.

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"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "

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12

Listengarten, Julia. "Visual Aurality in Russian Modernist Experiments: Explorations in Synesthesia and Auditory Imagination." Recherches sémiotiques 35, no. 2-3 (August 31, 2018): 77–96. http://dx.doi.org/10.7202/1051069ar.

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Russian modernist experiments in sensory communication include the interplay of sound and light in Alexander Scriabin’s symphonic mysteries as well as colored sounds in Wassily Kandinsky’s stage compositions. Inspired by various philosophical principles and creative methodologies, these artists explored the dialogue between the aural and the visual and its potential to influence the creative process and impact audience perception. This article seeks to assess the role of music and sound in synesthetic experiments of Scriabin and Kandinsky and place their theory and practice within the larger philosophical, artistic, and scientific contexts of their period and beyond.

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13

Wai-Ling, Cheong. "Scriabin's Octatonic Sonata." Journal of the Royal Musical Association 121, no. 2 (1996): 206–28. http://dx.doi.org/10.1093/jrma/121.2.206.

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The first of an uninterrupted series of piano works to follow the orchestral Prometheus, op. 60 (1908–10), Scriabin's Sixth Sonata, op. 62 (1911), is a striking example of what may be termed an ‘octatonic sonata’. Indeed, the Sixth Sonata shows Scriabin experimenting with the octatonic at its most rigid and is unique in containing long spans of pure octatonic writing where not a single extraneous note is invoked. In contrast to the Fifth Sonata, op. 53 (1907), which is closely associated with the Poem of Ecstasy, op. 54 (1905–8), the Sixth Sonata has only loose ties with Prometheus.

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14

Danylenko, Lyudmyla. "„In the army now”: Комічні тональності пам’яті про радянське минуле в книзі Кузьми Скрябіна „Я, Паштет і Армія”." Slavica Wratislaviensia 173 (October 7, 2020): 245–54. http://dx.doi.org/10.19195/0137-1150.173.20.

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The article deals with the peculiarities of the fiction memory reconstruction of Soviet Army service in the story Me, Pashtet, and the Army by Kuzma Scriabin. The author of the article explains the author-reader relation strategy, analyzes the comic mechanisms of past Soviet events and charactersʼ descriptions, and reveals the “personality — Soviet Army” opposition. Scriabin’s ability to describe life collisions of a witty and talented man, who perceives difficult situations with humor, is researched. The author of the article states that the individualization of the main character is achieved by portraying his behavior against the system that prevailed in the Soviet Army at that time. It is noted that Scriabin’s writing style and his ways of creating fictional figures correspond to his life philosophy, behavior, and aspirations.

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15

SHUMILIN, DMITRIY. "The Minor Mode in Alexander Scriabin’s Last Works: 150th Anniversary of Alexander Scriabin." Временник Зубовского института, no. 4 (2021): 168–82. http://dx.doi.org/10.52527/22218130_2021_4_168.

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16

Samson, T. J., and James M. Baker. "The Music of Alexander Scriabin." Journal of Music Theory 32, no. 2 (1988): 353. http://dx.doi.org/10.2307/843440.

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17

Pople, Anthony, and James M. Baker. "The Music of Alexander Scriabin." Music Analysis 7, no. 2 (July 1988): 215. http://dx.doi.org/10.2307/854057.

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18

Topilin, D. I. "Alexander Scriabin. An elite composer." Muzyka. Iskusstvo, nauka, praktika, no. 4 (2022): 52–61. http://dx.doi.org/10.48201/22263330_2022_40_52.

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19

Piechnat, Mateusz. "Scriabin – piano music in the context of the composer’s creative ideology. Part 2." Notes Muzyczny 2, no. 10 (December 20, 2018): 103–21. http://dx.doi.org/10.5604/01.3001.0012.9814.

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The article is the second part of the text devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. Throughout the period of around 20 years, Scriabin’s musical language transformed drastically, which is most fully shown in his piano pieces, especially miniatures and sonatas. The second part of the article presents a general characterisation of Scriabin’s piano compositions and musical language in subsequent stages of his creative work. The analysis refers to style and form-related topics, melodics and harmony he used, texture and timbre phenomena and the connections between piano and symphonic pieces. The author of the article reflects on the essence of Scriabin’s artistic orientation and the fact whether the change of his musical language can be called an “evolution” as such. An important element of the article is the presentation of the structure of each piano sonata. The included characterisation of the change of his musical language is an addition to the first part of the cycle, enabling the reference to the stages of the composer’s life juxtaposed there with the description of the transformation of his artistic views.

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20

Sweeney-Turner, Steve, and Robert Taub. "Scriabin: Piano Sonatas Nos. 1-10." Musical Times 135, no. 1821 (November 1994): 722. http://dx.doi.org/10.2307/1003210.

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21

Dyatlov, D. A. "THE LAST OPUS OF ALEXANDER SCRIABIN AS A MUSICAL "SKETCH" OF THE MYSTERY." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 86 (2022): 63–73. http://dx.doi.org/10.37313/2413-9645-2022-24-86-63-73.

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The article is devoted to the last piano opus by A.N. Scriabin - Five Preludes Op. 74 - in whose music one can see a certain artistic intention associated with the general idea of Scriabin - a musician and thinker. For a number of years the composer was completely absorbed in the idea of the Mystery. The grandiose plan involved the involvement of all mankind in a synthetic action in which civilization and culture would come to an end of their existence. The ecstatic feeling was to become the condition of unity in the last act of creation. The obvious impracticability of the Mystery was expressed in a compromise - the creation of a Preliminary Action. In the last years of his life, Scriabin devoted more and more time to composing music and poetic texts for his mystery plan. Refusing to compose major symphonic works, Scriabin worked on piano miniatures and sonatas, the composition of which he considered an intermediate result on the way to his main goal. Researchers note a significant change in the musical language during this period of creativity. The circle of images that worried the composer at that time was connected with the Mystery. The poetic texts of the Preliminary Act and the music composed during the last year of his life resonate in a peculiar way. This is especially true of the cycle of miniatures - Five Preludes Op. 74. Their sound reveals an extra-musical content, in which one can see the ideas and images of the Mystery in a folded form or in "sketches".

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22

Motorna, Tetiana. "O. Messian's piano cycle "20 views on the infant Jesus" in the aspect of connection with the legacy of О. Scriabin." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 287–91. http://dx.doi.org/10.32461/2226-3209.2.2021.240096.

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Purpose of the article. To investigate the significant stylistic influences of О. Scriabin's creative method on О. Messian's compositional approach. Determine the means by which the liturgical and mysterious orientation of the work of both composers is realized. Methodology. The methodological foundations of the work include analytical, comparative-historical and genre-nominative musicological approaches determined by aesthetic, cultural and philosophical positions. This methodological approach allows us to reveal and analyze individual plays of the cycle "20 views on the infant Jesus" in order to find an adequate approach to the construction of interpretation. Scientific novelty. For the first time in Ukrainian musicology, the completeness of the implementation of the idea of scriabinism in the works of О. Messian is being raised. For the first time in this perspective, the cycle "20 views on the infant Jesus"is analyzed. Attention is drawn to the extra-procedural, extra-dramatic, but especially ecstatic identification of the musical meaning of compositions for the first time. Conclusions. Analysis from the accepted perspective of the expressive positions of the O cycle. Messiana demonstrated a pronounced liturgical-mysterious orientation, which correlates with the characteristic attitudes of Scriabin's music. The analysis highlights the effect of" quiet climax", which is" drama on the contrary", since it focuses on the sacred phenomenon of the infant Jesus, which defines the essence of this phenomenon. In the works of О. Messian, we find a "spill" of dance-motor sounds, which corresponds to the Franciscan attitude to sacred danceability – and to divine play in ecstatic compositions by О. Scriabin. The interval-semantic load of the Prometheus Chord Forms a hyper-branched monologue of the cycle of A. Messiaen, in which the basis is the concept of an open sequence of the composition of pieces of the French Clavier tradition, and The Prelude in the sacred sense of its basis of music, as it is seen in the Sonata-poetic heritage of О. Scriabin, and the suite-variational thinking of О. Messiaen.

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23

Taruskin, Richard. "The Music of Alexander Scriabin James M. Baker Scriabin: Artist and Mystic Boris de Schloezer Nicolas Slonimsky." Music Theory Spectrum 10 (April 1988): 143–69. http://dx.doi.org/10.2307/745797.

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24

Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.

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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz. It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration. It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out. Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level. It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”). The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”. In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).

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25

Piechnat, Mateusz. "Scriabin – piano music in the context of the composer’s creative ideology. Part 3." Notes Muzyczny 2, no. 12 (December 13, 2019): 161–74. http://dx.doi.org/10.5604/01.3001.0013.7174.

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The article is the third part of the text devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. The article’s author asks questions about the reasons of this radical evolution of Scriabin’s musical language, the reflection of his personality and creative views and the connections of music with mystical experiences. As he believes, finding a way to a possibly authentic explanation of these issues may contribute to a better understanding of the composer’s creative intentions in the context of the artistic interpretation of his piano works. The third part of the cycle presents the interpretation of Scriabin’s mysticism in aesthetic aspect. The author of the article shows three perspectives of this phenomenon, i.e.: presentation of mystical topics in the programme of a piece, treating a music piece as a transcendent being and using a composition as a carrier of mystical experiences. An important element of this description is the reference to psychological findings of Abraham Maslov concerning the special perception accompanying such experiences (peak experience). The article concludes with a few reflections of a general performance-related character.

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26

Choi, Won Sun. "A Study on Scriabin`s Centric Music." Yonsei Music Research 11 (December 31, 2004): 131–65. http://dx.doi.org/10.16940/ymr.2004.11.131.

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27

Piechnat, Mateusz. "Scriabin – piano music in the context of the composer’s creative ideology. Part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 89–106. http://dx.doi.org/10.5604/01.3001.0012.9900.

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The article is the first part of a cycle of texts devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. The article’s author asks questions about the reasons of this radical evolution of Scriabin’s musical language, the reflection of his personality and creative views and the connections of music with mystical experiences. As he believes, finding a way to a possibly authentic explanation of these issues may contribute to a better understanding of the composer’s creative intentions in the context of the artistic interpretation of his piano works. The first part of the cycle presents the artist’s biography, his poetry and philosophical works. It discusses the most important events in his life, his music education and activity as a pianist and a composer, paying attention to the phenomenon called synesthesia and his idea-based creative aspirations. The analysis of the composer’s philosophical notes will allow for determining his worldview. As a result, the article will present the connections between the spheres of Scriabin’s activity, covering subsequent stages of his life and the transformation of his artistic views serving as a reference to the evolution of his musical language, which will be discussed in the next part of the cycle.

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28

Guenther, Roy J. "The Music of Alexander Scriabin . James M. Baker ." Journal of the American Musicological Society 41, no. 1 (April 1988): 194–99. http://dx.doi.org/10.1525/jams.1988.41.1.03a00090.

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29

Witztum, Eliezer, and Vladimir Lerner. "Alexander Nikolaevich Scriabin (1872–1915): Enlightenment or illness?" Journal of Medical Biography 24, no. 3 (July 9, 2016): 331–38. http://dx.doi.org/10.1177/0967772014537151.

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30

Ловчикова, Ульяна Викторовна. "Valentina Rubtsova: “Many of Scriabin's Manuscripts Contain Pages Filled with Mathematical Calculations”." Музыкальная академия, no. 1(777) (March 31, 2022): 6–13. http://dx.doi.org/10.34690/215.

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В 2022 году отмечается юбилей Александра Николаевича Скрябина - 150 лет со дня его рождения. Издательский дом «Музыка - П. Юргенсон» выпустил полное собрание сочинений, что стало завершением важного этапа в истории изучения творчества композитора и представляет большую ценность как для почитателей или исполнителей его музыки, так и для исследователей. Проведен разносторонний анализ наследия музыканта: рукописей, писем. В интервью с главой редакционной коллегии проекта - Валентиной Васильевной Рубцовой, доктором искусствоведения, заместителем директора по научной работе Мемориального музея А. Н. Скрябина, - затрагиваются проблемы подготовки к выпуску собрания сочинений, обсуждаются творческий путь композитора и, что не менее важно, особенности развития скрябинских идей в искусстве сегодняшнего дня. 2022 is the celebration year for the sesquicen-tenary of the great Russian composer Alexander Scriabin. “Muzyka-P. Jurgenson Publishing House” issued the complete collection of his works marked the completion of an important stage in the history of the study of the composer's work and is of great value which is quite an occasion for performing musicians as well as musicologists. It should be noted that a comprehensive analysis of the composer's archive including music manuscripts, drafts and sketches, correspondence and other sources. Head of the editing board-Valentina V. Rubtsova, Doctor of Art Criticism, Deputy Director for Research at the Scriabin Memorial Museum-speaks about the specific problems of carrying out a large-scale project like a complete collection of works, discusses the artistic legacy of Scriabin and last, but no least, a further development of his music and aesthetic ideas as it can be viewed by a present day listener.

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Chzhen, Lisha. "S. Feinberg — composer-thinker of the Silver Age." Человек и культура, no. 3 (March 2022): 47–60. http://dx.doi.org/10.25136/2409-8744.2022.3.38208.

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The purpose of this article is to identify cultural, musical and pedagogical aspects of the life and work of one of the leading representatives of the Moscow piano school in performance and pedagogy S. Feinberg. The formation of S. Feinberg's compositional and performing style was influenced by many composers of the Silver Age, the leading of whom were A. Scriabin and N. Medtner. The subject of the study is the circle of interests of S. Feinberg. S. Fenberg was one of the best performers of J.S. Bach, L. Beethoven, R. Schumann, P. Tchaikovsky, S. Rachmaninov, N. Medtner, A. Scriabin. S. Feinberg's interpretations of A. Scriabin's works were considered the closest to the author's. S. Feinberg's performance was distinguished by its rigor, precise adherence to the author's text, intellectual interpretation. S. Feinberg summarized his views in musicological works: "Beethoven's 32 Sonatas", "Pianism as Art", "The Fate of Musical Form" and others. The object of the study is the consideration of the individual composer style of S. Feiberg. From the first opuses of S. Feinberg's work, he was interested in the genre of piano sonata. Through the synthesis of research methods, some features of sonatas No. 1, No. 2, No. 6 and No. 12 are presented. The author examines in detail compositional techniques, in particular the attraction to poetry and monothematism inherent in romantic composers, the widespread use of polyphony. A significant event for the musicians was the release of the CD "Feinberg plays Feinberg", released by the Moscow Conservatory in 2021, which included recordings of his twelve sonatas. The main conclusion of the conducted research is that S. Feiberg's style is absolutely individual, which is revealed in the nature of thematism, the ways of its development, and the methods of piano presentation. In addition, a fine connoisseur of the piano, S. Feinberg creates new types of virtuoso technique. The novelty of the research lies in the fact that for the first time the study of S. Feinberg's style is based on the memoirs and theoretical studies of S. Feinberg.

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Raba, Bogusław. "Trajektoria tonalno-harmoniczna jako wyraz archetypu narracyjnego unii mistycznej w twórczości Charles’a Tournemire’a i Aleksandra Skriabina." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 118–39. http://dx.doi.org/10.14746/rfn.2021.22.10.

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The subject of the article is a comparison of the process of transformations of the tonal-harmonic structure in the works of Alexander Scriabin and Charles Tournemire in relation to the narrative archetype of the mystical union. The justification for comparing these aspects of the work of these two composers is their development of a similar harmonic idiom, which they used to symbolically justify diametrically opposed worldviews. Scriabin’s work is considered a breakthrough for European music culture, whereas Tournemire’s is still little known. Just as the former assumed the role of composer-philosopher, the latter became a musical theologian. Tournemire, organist of the St. Clotilde basilica in Paris, initiated the tradition of musical homiletics, in which the central persuasive element, similar to the Gospel parable, was the musical narrative trajectory. Its climax was the mystical chord. However, a comparative analysis of harmonic structures, topics, narrative trajectories, shows the limits of semantization that differentiates aesthetic postulates and analogous narrative constructions, the nodal moment of which are created by the union of polarization elements.

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Callender, Clifton. "Voice-Leading Parsimony in the Music of Alexander Scriabin." Journal of Music Theory 42, no. 2 (1998): 219. http://dx.doi.org/10.2307/843875.

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Fanning, D. "The Performing Style of Alexander Scriabin. By Anatole Leikin." Music and Letters 93, no. 4 (November 1, 2012): 614–15. http://dx.doi.org/10.1093/ml/gcs076.

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Rego, John. "The Performing Style of Alexander Scriabin (review)." Notes 68, no. 4 (2012): 799–802. http://dx.doi.org/10.1353/not.2012.0040.

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Starcevic, Vladan. "The life and music of Alexander Scriabin: megalomania revisited." Australasian Psychiatry 20, no. 1 (January 9, 2012): 57–60. http://dx.doi.org/10.1177/1039856211432480.

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Guenther, Roy J. "Review: The Music of Alexander Scriabin by James M. Baker." Journal of the American Musicological Society 41, no. 1 (1988): 194–99. http://dx.doi.org/10.2307/831758.

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Garcia, Emanuel E. "Rachmaninoff and Scriabin: Creativity and Suffering in Talent and Genius." Psychoanalytic Review 91, no. 3 (June 2004): 423–42. http://dx.doi.org/10.1521/prev.91.3.423.38305.

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Berman, Greta. "Synesthesia and the Arts." Leonardo 32, no. 1 (February 1999): 15–22. http://dx.doi.org/10.1162/002409499552957.

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The term “synesthesia” has often been used metaphorically rather than accurately. Ongoing scientific research shows the condition to be “real,” rather than imagined. The author focuses her discussion on the effects of colorsound synesthesia, or “chromesthesia,” and on a selection of composers and visual artists. The composers discussed include Alexander Scriabin, Olivier Messiaen and Michael Torke. Visual artists discussed include Robert Delaunay and David Hockney.

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Евгения Ивановна, Чигарёва,. "The Unpublished Manuscript of Aleksandr Mikhaylov's Article “On Designations and Denominations in Music Sheets by A. N. Scriabin”." Музыкальная академия, no. 4(780) (December 26, 2022): 28–39. http://dx.doi.org/10.34690/270.

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В статье рассказывается о неопубликованной рукописи, найденной в архиве А. В. Михайлова — филолога, искусствоведа, переводчика, оставившего заметный след в музыкальной науке. Он подробно анализирует вербальный слой «Поэмы экстаза» — от названия до ремарок. Исследователь разделяет в нотном тексте традиционные итальянские обозначения - более нейтральные, связанные с динамикой и темпом, и индивидуальные — французские, опирающиеся на философскую систему Скрябина. В тесной связи с музыкой Михайлов раскрывает смысл этих обозначений, выявляя тенденции, свойственные позднему творчеству композитора. При этом он делает обобщения, касающиеся скрябинской эпохи в целом, когда, по его словам, «достигает своего пика своеобразный экстатизм зрелой и поздней психологической культуры XIX века». А. В. Михайлов называет это время эпохой второй психологизации музыки. The article describes an unpublished manuscript found in the archive of A. V. Mikhaylov, a philologist, art critic, and translator, who left a noticeable mark on the science about music. He analyzes in detail the verbal layer in the “Poem of Ecstasy” from the title to the stage directions. The researcher separates the traditional Italian designations in the musical text—more neutral, associated with dynamics and tempo, and individual—French, based on Scriabin’s philosophical system. In close connection with music, Mikhailov reveals the meaning of these designations, revealing the tendencies inherent in the composer’s later work. At the same time, he makes generalizations concerning the Scriabin era as a whole, when, in his words, “the peculiar ecstaticism of the mature and late psychological culture of the 19th century reaches its peak.” A. V. Mikhaylov calls this time the era of the second psychologization of music.

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Chupakhina, T. I. "The idea of messianism in the late work of Alexander N. Scriabin." Culture Space of Russian World 5, no. 2 (2021): 15–18. http://dx.doi.org/10.24147/2782-2532.2021.5(2).15-18.

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Bielniak, Nel. "Rossica w listach Jarosława Iwaszkiewicza do żony z lat 1922–1926." Acta Polono-Ruthenica 4, no. XXIV (December 30, 2019): 103–14. http://dx.doi.org/10.31648/apr.4876.

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This article describes parts of extensive correspondence between Jaroslaw Iwaszkiewicz and his wife, Anna, exchanged from 1922 to 1926. The letters present the initial period of their marriage and log Iwaszkiewicz’s musical, literary and philosophical interests inspired by Russian culture (S. Prokofiev, A. Scriabin, N. Nabokov, I. Stravinsky, F. Dostoyevsky, A. Pushkin, I. Turgenev, N. Berdyaev and others) and connections with Russian émigrés, whom the poet met in both Warsaw (e.g. A. Wertynsky) and Paris (e.g. N. Nabokov). There are also memoirs concerning acquaintances made in Elizavetgrad and Kiev.

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Taruskin, R. "James M. Baker. The Music of Alexander Scriabin. New Haven and London: Yale University Press, 1986. Boris de Schloezer. Scriabin: Artist and Mystic. Translated from the Russian by Nicolas Slonimsky with an Introduction by Marina Scriabine. Berkeley and Los Angeles: University of California Press, 1987." Music Theory Spectrum 10, no. 1 (March 1, 1988): 143–69. http://dx.doi.org/10.1525/mts.1988.10.1.02a00100.

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Forte, Allen. "New Approaches to the Linear Analysis of Music." Journal of the American Musicological Society 41, no. 2 (1988): 315–48. http://dx.doi.org/10.2307/831436.

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A number of recent studies incorporate linear analysis of non-standard tonal music and non-tonal music. Although the author takes issue with the application of strict Schenkerian paradigms to such music he acknowledges the historical importance of the Schenkerian canon. Invoking new procedures, among them pitch-class set-analytical techniques, the author presents a series of analyses which reveal linear-motivic features held to be essential to the music under consideration over temporal spans of varying length. The study, which includes works by Stravinsky, Wagner, and Scriabin, ends by suggesting three guidelines for subsequent efforts in this new area of analytical research.

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Keprt, Marek. "To the Issue of Evil in the Late Works by Alexander Nikolayevich Scriabin." Musicologica Olomucensia 25, no. 1 (June 11, 2017): 78–97. http://dx.doi.org/10.5507/mo.2017.005.

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Leikin, Anatole. ""The Scriabin Companion: History, Performance, and Lore," by Lincoln Ballard and Matthew Bengston." Performance Practice Review 22, no. 1 (2017): 1–7. http://dx.doi.org/10.5642/perfpr.201722.01.02.

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Kravchenko, Victoria V. "PHILOSOPHICAL-MYSTICAL MEANING, ORIGINS AND PARALLELS OF THE "MYSTERY" BY A. N. SCRIABIN." Bulletin of the Moscow State Regional University (Philosophy), no. 2 (2020): 82–94. http://dx.doi.org/10.18384/2310-7227-2020-2-82-94.

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Timmers, Renee, Matija Marolt, Antonio Camurri, and Gualtiero Volpe. "Listeners' emotional engagement with performances of a Scriabin étude: an explorative case study." Psychology of Music 34, no. 4 (October 2006): 481–510. http://dx.doi.org/10.1177/0305735606067165.

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Nikolenko, R. "The specifics of composer’s interpretation of the genre of prelude in Samuil Feinberg’s creativity." Culture of Ukraine, no. 74 (December 20, 2021): 55–60. http://dx.doi.org/10.31516/2410-5325.074.09.

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The aim of the article is to determine the specifics of the composer’s embodiment of the prelude genre in the works of S. Feinberg on the example of two cycles “Four preludes” op. 8 and “Three Preludes” op. 15. The methodology is based on an integrated approach and includes analytical, comparative, as well as structural-functional and genre-style methods. The results are based on the identification of features of the composer’s interpretation of the piano prelude genre in the works of S. Feinberg. Due to the current trend towards the discovery of rarely-performed music, there is a growing interest in the works of S. Feinberg, whose compositional heritage is still poorly known by a wide range of performers and scientists. Some of his works, which are of undoubted artistic value, remain out of the field of view of researchers. This remark is especially appropriate in relation to the genre of prelude in the artist’s legacy, which is represented by two cycles of “Four preludes” op. 8 and “Three Preludes” op. 15. Despite the fact that the composer addressed him in the early period of his work, the originality of the composer’s writing style is clearly manifested in this genre. In the context of the relationship between the compositional style of S. Feinberg and the Scriabin creative tradition, key points are identified that distinguish the manner of interpretation of this genre. It is noted that the originality of composer’s thinking is manifested at various levels of organization of a piece of music. Focusing on the Scriabin’s style of the second period of creativity, which manifests itself in laconic thematism and the absence of a pronounced сantilena, S. Feinberg reinterprets it in figurative, semantic and pianistic terms. The manner of musical utterance of S. Feinberg is marked by greater emotional tension and expression. The composer uses a richer texture, which presents a wide variety of types of small and large piano techniques, with the latter prevailing. It applies elements of polyphonic development. Thanks to this approach to the textured solution, the virtuoso component is even more pronounced in preludes. The scientific novelty of the results obtained lies in the fact that for the first time in Ukrainian musicology, an attempt was made to comprehend the features of the interpretation of the piano prelude genre in the works of S. Feinberg, as well as to trace the features of the creative reinterpretation of the Scriabin composer tradition in the early period of S. Feinberg’s work. The practical significance of the study lies in the possibility of using its results in higher educational institutions of art education when working on the works of S. Feinberg in the class of special piano, as well as to deepen ideas about the specifics of the composer’s style of this artist.

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Jurkowski, Edward. "Alexander Scriabin's and Igor Stravinsky's Influence upon Early Twentieth-Century Finnish Music: The Octatonic Collection in the Music of Uuno Klami, Aarre Merikanto and Väinö Raitio." Articles 25, no. 1-2 (December 17, 2012): 67–85. http://dx.doi.org/10.7202/1013306ar.

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This article examines a significant shift in musical style and compositional technique that occurred in Finland during the 1920s, a time during which the music of Jean Sibelius exerted a strong influence. Specifically, I discuss how the octatonic collection, a prominent feature in the music of the two early twentieth-century Russian modernists Igor Stravinsky and Alexander Scriabin, is incorporated as a fundamental harmonic resource in three celebrated orchestral works: Uuno Klami's 1935 "The Creation of the Earth" (movement one from his five-movement Kalevala Suite), movement one from Aarre Merikanto's 1924 Ten Pieces for Orchestra, and Väinö Raitio's 1921 tone poem Fantasia estatica.

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