Scriabin – piano music in the context of the composer’s creative ideology. Part 1
Journal Title: Notes Muzyczny - Year 2018, Vol 1, Issue 9
Abstract
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.<br/><br/>
Authors and Affiliations
Mateusz Piechnat
Keywords
Related Articles
- EP ID EP517019
- DOI 10.5604/01.3001.0012.9900
- Views 62
- Downloads 0
Unikalna tkanina materii dźwiękowej w twórczości kameralnej Zygmunta Krauzego
Twórczość kameralna Zygmunta Krauze stanowi doniosły wkład w dorobek muzyki naszych czasów. W utworach artysty spotykamy się z nowym potraktowaniem środków fakturalnych rzutujących na aspekt wykonawczy dzieł, a są nimi m...
Ornamentation in music from the 16th century to the mid-18th century, part 1
Among important elements being part of ornamentation practices are small embellishment formulas and ornaments; selected ones will be presented in subsequent parts of this cycle of articles devoted to performance issues o...
Cadence formulas in instrumental music of the Renaissance and early Baroque in the context of that time’s theory of music and composition practice
Cadence (ending) formulas are one of the most intriguing phenomena in music. They occur in works of all historical periods and styles and they have a variety of forms: from melodic and harmonic turns to rhythmic or even...
Viola d’amore in the 17th and 18th centuries, part 1
The viola d’amore is an instrument belonging to the group of string chordophones and it dates back to the 17th century. Its structure has the features characteristic of the viola da gamba but its playing technique and wa...
Historical Pleyel piano. A study of the item no. 32 490 of 1862 on the basis of Preludes op. 28 by Fryderyk Chopin, part 2
The second part of the cycle begins with an overview of the general issues in Fryderyk Chopin’s Preludes op. 28. The collection fascinates its researchers to this day and is a subject of numerous papers whose authors mak...