Alexander Scriabin, Russian pianist and composer (d. 1915)

Alexander Scriabin: A Visionary Russian Composer and Pianist

Alexander Nikolayevich Scriabin (Russian: Александр Николаевич Скрябин [ɐlʲɪˈksandr nʲɪkəˈɫaɪvʲɪtɕ ˈskrʲæbʲɪn]; 6 January 1872 [O.S. 25 December 1871] – 27 April [O.S. 14 April] 1915) was a highly influential Russian composer and virtuoso pianist, whose profound impact on music continues to resonate. His unique artistic journey saw him evolve from a Romantic idealist into one of the most innovative and controversial figures of early 20th-century modernism, deeply intertwining his musical creations with a distinctive philosophical and mystical worldview.

Musical Evolution and Philosophical Underpinnings

Scriabin's early musical period was marked by a significant reverence for the works of Frédéric Chopin, particularly evident in his lyrical piano preludes, études, and nocturnes. During this phase, he composed in a relatively tonal, late Romantic idiom, characterized by lush harmonies, expressive melodies, and a focus on intimate, poetic expression.

However, Scriabin's artistic curiosity soon propelled him beyond traditional Romanticism. Independently of his highly influential contemporary, Arnold Schoenberg, Scriabin pioneered a substantially atonal and much more dissonant musical language. This radical departure was not merely an aesthetic choice but deeply intertwined with his personal brand of metaphysics – a syncretic philosophy blending Symbolism, mysticism, and especially theosophy. His unique harmonic language often revolved around the "mystic chord" or "Promethean chord" (typically C–F♯–B♭–E–A–D), a six-note synthetic chord that became a signature element in his later works, moving away from conventional functional harmony.

The Interplay of Senses: Synesthesia and Theosophy

A central tenet of Scriabin's unique vision was his experience of synesthesia, a neurological phenomenon where stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. For Scriabin, this manifested as associating specific colours with the various harmonic tones of his evolving atonal scale. He famously conceived of a "light organ" or "clavier à lumières" for his symphonic poem Prometheus: The Poem of Fire (Symphony No. 5, Op. 60), where colours were projected onto a screen in synchronization with the music, aiming to create a multi-sensory experience.

Furthermore, his colour-coded circle of fifths and his broader artistic aspirations were profoundly influenced by theosophy, a spiritual movement founded by Helena Blavatsky. Scriabin believed that art, particularly music, held the power to transcend ordinary consciousness and unite humanity with the divine. He envisioned his ultimate, never-completed work, Mysterium, as a grand, week-long multi-media performance in the foothills of the Himalayas, intended to bring about cosmic transformation and a new stage of human evolution.

Legacy and Reevaluation

Scriabin is widely considered by many scholars and enthusiasts to be the foremost Russian Symbolist composer, reflecting the broader Symbolist movement in Russian art and literature of his era which sought to evoke spiritual and mystical realities through symbolic imagery. His innovative approach positioned him as one of the most original and, at times, controversial composers of his time.

His music garnered strong, often polarized, reactions during his lifetime. The Great Soviet Encyclopedia notably observed that "no composer has had more scorn heaped on him or greater love bestowed," encapsulating the intense debate surrounding his works. Renowned author Leo Tolstoy, despite his often conservative views on art, described Scriabin's music as "a sincere expression of genius," recognizing its profound emotional and intellectual depth. Scriabin's oeuvre exerted a salient influence on the music world over time, particularly impacting composers such as Igor Stravinsky, Sergei Prokofiev, and Karol Szymanowski, who found inspiration in his harmonic innovations, rhythmic complexity, and spiritual aspirations.

Despite his significant influence during his lifetime, Scriabin's importance in the Russian (and subsequent Soviet) musical scene, as well as internationally, drastically declined after his untimely death in 1915. His biographer Faubion Bowers poignantly noted, "No one was more famous during their lifetime, and few were more quickly ignored after death." This decline can be partly attributed to the subsequent shift in musical aesthetics after World War I, the rise of new musical movements, and in the Soviet Union, the ideological rejection of his mystical and individualistic philosophies in favour of Socialist Realism. Nevertheless, Scriabin's profound musical aesthetics have undergone a significant reevaluation since the 1970s. His complete cycle of ten published sonatas for piano, along with other seminal works like Vers la Flamme and Poem of Ecstasy, have been increasingly championed by performers and scholars, garnering significant critical acclaim and renewed public interest in recent years, solidifying his place as a pivotal figure in the history of music.

Frequently Asked Questions About Alexander Scriabin

What was Alexander Scriabin known for?

Alexander Scriabin was a Russian composer and pianist renowned for his innovative, often mystical musical language that evolved from Romanticism to a unique form of atonality. He is also known for his philosophical ideas, his synesthetic association of colors with musical tones, and his influence from theosophy.

How did Scriabin's music change over time?

Scriabin's early music was strongly influenced by Chopin and written in a lyrical, late Romantic style. Later, he developed a highly dissonant and atonal language, employing unique harmonic structures like the "mystic chord," which accorded with his spiritual and metaphysical beliefs, diverging significantly from traditional tonality.

What is the "mystic chord" associated with Scriabin?

The "mystic chord," also known as the "Promethean chord," is a six-note synthetic chord (typically C–F♯–B♭–E–A–D) that Scriabin frequently used in his later works, notably Prometheus: The Poem of Fire. It deviates from conventional harmony and contributed to his unique atonal sound world.

How did synesthesia influence Scriabin's compositions?

Scriabin experienced synesthesia, seeing specific colours when hearing certain musical notes or harmonies. This influenced his compositions, most notably in Prometheus: The Poem of Fire, where he included a part for a "colour organ" (clavier à lumières) to project colours corresponding to the music during performances, aiming for a multi-sensory experience.