Alexander Scriabin, Russian pianist and composer (b. 1872)

Alexander Nikolayevich Scriabin (Russian: Александр Николаевич Скрябин; born 6 January 1872 [O.S. 25 December 1871] in Moscow and passing away on 27 April [O.S. 14 April] 1915, also in Moscow) was a Russian composer and pianist whose profound originality and mystical vision left an indelible, if often controversial, mark on early 20th-century music. His relatively short life saw him transition from a composer deeply rooted in the Romantic tradition to a radical pioneer of modernism, forging a musical language uniquely intertwined with his philosophical and spiritual explorations.

The Early Romantic Voice: From Chopin to Originality

In his formative years, Scriabin's musical journey was significantly shaped by the lyrical and expressive world of Frédéric Chopin. Like many young pianists and composers of his era, Scriabin absorbed the Polish master's idiom, evident in his early compositions which embraced a relatively tonal and late Romantic style. These initial works, often miniature piano pieces such as preludes, études, and nocturnes, showcased a delicate melodic sensibility and a rich harmonic palette, firmly placing him within the tradition of great Romantic virtuoso pianists and composers.

However, this early homage soon gave way to a burgeoning individual voice. While his technical mastery and melodic gifts were undeniable, Scriabin harbored a restless creative spirit that yearned for something beyond the conventional.

A Visionary Path: Metaphysics, Atonality, and Synesthesia

As Scriabin matured, his music underwent a dramatic transformation, evolving into a substantially more dissonant and atonal language. This innovative leap was not a mere stylistic shift but a deeply personal one, intricately linked to his evolving metaphysical beliefs. Importantly, this development occurred independently of his highly influential contemporary, Arnold Schoenberg, who was simultaneously exploring similar uncharted harmonic territories in Central Europe. Scriabin's foray into atonality was driven by a desire to express a cosmic, mystical spirituality rather than purely structural or expressive concerns.

His unique perspective was further colored by synesthesia, a neurological phenomenon where the stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. For Scriabin, this manifested as the ability to associate specific colors with various harmonic tones and keys, particularly within his evolving atonal scale. He even dreamed of multi-sensory performances where light and color would accompany his music. This concept reached its zenith in works like his orchestral piece Prometheus: The Poem of Fire, which includes a part for a "color organ" (clavier à lumières) intended to project colored lights onto a screen during performance, though this was rarely realized as he envisioned during his lifetime.

Adding another layer to his complex artistic philosophy, Scriabin's distinctive color-coded circle of fifths and his broader compositional outlook were also profoundly influenced by theosophy. This spiritual movement, blending elements of Eastern and Western mysticism, encouraged a search for universal truths and a deeper understanding of the cosmos, aligning perfectly with Scriabin's ambition to create music that transcended mere sound to evoke profound spiritual and philosophical experiences. For these reasons, he is widely regarded by many as the main Russian Symbolist composer, his music becoming an aural manifestation of the Symbolist movement's focus on subjective experience, suggestion, and the mystical.

A Polarizing Figure: Scorn and Adoration

During his lifetime, Scriabin stood as one of the most innovative and, undeniably, one of the most controversial figures among early modern composers. His radical departure from traditional tonality and his often esoteric spiritual agenda provoked strong reactions. The venerable Great Soviet Encyclopedia encapsulated this perfectly, noting that "no composer has had more scorn heaped on him or greater love bestowed." This dichotomy highlights the intense impact his music had on audiences and critics alike: for some, it was incomprehensible chaos; for others, a glimpse into the future of music and a profound spiritual revelation.

Even the revered author Leo Tolstoy, known for his critical views, was moved to describe Scriabin's music as "a sincere expression of genius," a testament to the powerful and undeniable artistry at its core, even for those who might not have fully grasped its complex underpinnings. His unique oeuvre exerted a salient influence on the music world, touching the compositional paths of significant figures such as Igor Stravinsky, Sergei Prokofiev, and Karol Szymanowski. These composers, while developing their own distinct styles, absorbed aspects of Scriabin's harmonic daring, his innovative piano writing, and his willingness to push expressive boundaries.

The Wax and Wane of a Legacy: From Obscurity to Reappraisal

Despite his considerable fame and influence during his lifetime, Scriabin's prominence in the Russian and later Soviet musical scene, and indeed internationally, experienced a drastic decline remarkably swiftly after his death. His biographer Faubion Bowers poignantly observed, "No one was more famous during their lifetime, and few were more quickly ignored after death." This precipitous fall from grace can be attributed to several factors: his highly individualistic and mystical aesthetics may have seemed out of step with the burgeoning Soviet realism, his music's complexity posed challenges, and the subsequent rise of other avant-garde movements further shifted critical attention.

However, the narrative of Scriabin's legacy did not end in obscurity. Since the 1970s, there has been a significant reevaluation of his musical aesthetics. Scholars, performers, and audiences began to rediscover the depth and originality of his work. Consequently, his ten published sonatas for piano, along with his other orchestral and smaller-scale compositions, have been increasingly championed by leading musicians. This resurgence of interest has garnered significant acclaim in recent years, firmly re-establishing Alexander Scriabin as a pivotal and indispensable voice in the pantheon of early 20th-century composers whose vision continues to captivate and challenge.

FAQs About Alexander Scriabin

Who was Alexander Scriabin?

Alexander Scriabin was a highly original Russian composer and pianist (1872–1915) known for his innovative musical language that evolved from Romanticism to a unique form of atonality, deeply intertwined with his mystical and philosophical beliefs.

What makes Scriabin's music unique?

Scriabin's music is distinct due to its blend of intense spiritualism, advanced harmonic language (including a personal system of atonality), and influences from synesthesia (associating colors with sounds) and theosophy. He aimed to create a "universal art" that combined music, light, and movement.

How did Scriabin's musical style evolve?

Initially, Scriabin was heavily influenced by Frédéric Chopin, composing works in a tonal, late Romantic style. He later developed his own substantially atonal and more dissonant language, moving away from traditional harmony to express his evolving metaphysical ideas.

Was Scriabin influenced by Arnold Schoenberg?

No, Scriabin developed his atonal and dissonant musical language independently of Arnold Schoenberg. While both were pioneers of modernism, their paths and motivations for exploring new harmonic territories were distinct.

What is synesthesia, and how did it influence Scriabin?

Synesthesia is a neurological phenomenon where one sense involuntarily triggers another. Scriabin experienced chromesthesia, associating specific colors with musical notes, keys, and harmonies. This influenced his compositions, notably his piece Prometheus: The Poem of Fire, which was conceived with a "color organ" to project lights during performance.

Why did Scriabin's popularity decline after his death?

After his death, Scriabin's highly individualistic, mystical, and complex music fell out of favor, particularly in the changing political and aesthetic landscape of post-revolutionary Russia and the early Soviet era. His radicalism was perhaps too advanced for some, and new musical trends emerged that overshadowed his unique style.

Has Scriabin's music been reevaluated since his death?

Yes, since the 1970s, there has been a significant reevaluation and resurgence of interest in Scriabin's work. His piano sonatas and other compositions are now widely performed and critically acclaimed, solidifying his place as a crucial figure in modern music history.