Ivo pogorelich scriabin biography

The time is out of joint, O cursèd spite,
That ever I was born to set it right!

Hamlet, I.v

Convinced that the artist had a religious and social mission, both the Abbé Liszt and the esoteric Scriabin were constantly torn between the pleasures of life, love for women, poetry, travel through landscapes with lakes and seas and the fascination of death. Their early compositions were perhaps too dependent on the elegant piano style of the salons, but both arrived at a fundamental revolution in harmony, where (strange as it is that they should share this detail) chords built on superimposed fourths make sporadic appearances. The tritone, the diabolus in musica, opened up for them the doors to the Prometheus and Faust myths, giving them access to the symbols of fire and hell. Their last works are marked by an asceticism bordering on silence, witness to the extraordinary development the musical language of each had undergone.

When he was 34 Franz Liszt wrote: “The time has com

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Alexander Nikolayevich Scriabin [1] (Moscow, 6 January 1872—Moscow, 27 April 1915) is a Russian composer and pianist who initially created a highly lyrical and idiosyncratic tonal language inspired by the music of Frédéric Chopin. Unlike the later Nikolai Roslavets and Arnold Schönberg, Scriabin developed a growing atonal system, which was in accordance with his idea of mysticism, preceding the Schönberg’s twelve-tone technique and other serial music. He can be considered the primary figure of Russian musical symbolism and the proclaimer of serialism.

Scriabin was born at the time when the Russian literary temperament was changing—a period known as the Silver Age of Russian Poetry. It was a movement that encompassed a number of strong artistic personalities of different worldviews (from mysticism and aestheticism to apocalypticism), and many artists of the time were also influenced by Marx’s and Nietzsche’s philosophies, by Helena Blavatsky’s theosophy,