Preludes of Scriabin: history, video, content, interesting facts

Preludes Scriabin

Alexander Nikolaevich Scriabin is an interesting and rather mystical figure of the late XIX and early XX century. He always strove to create a new one and discovered completely different musical-coloristic edges. We must not lose sight of the fact that, apart from an indisputable gift to writing, Alexander Nikolaevich perfectly mastered the piano and brilliantly performed the most complex works from the technical side. Passion for his own business led him to create musical masterpieces - piano preludes. You can learn the history of their creation, read interesting facts about the composer’s work, and listen to the works on our page.

Story

The love for the piano instilled in the mother of the composer, who was a highly gifted pianist. While still a small child, Alexander heard how a mother plays music at a home piano. But she left him early, and an equally talented aunt took care of her upbringing. Passion for music, excellent memory and hearing made it possible to achieve visible success in mastering the piano. That is why a significant part of the creative heritage are the cycles of preludes written for this tool. The works reflect not only the rich inner world of the composer, but also the atmosphere of the time in which he lived. Striving to gain freedom, enjoying every moment of life - this is what has become an inexhaustible source of inspiration.

Throughout his career, the composer turned to an essay in this genre. Opus No. 11, 32 and 74 are considered the best creations. These cycles fully reveal the characteristic features of the period in which they were written.

Unlike its predecessors, the musician did not seek to enlarge the composition. The miniature in his work was still quite small. At the same time foreplay could fully capture the emotional state. In the process of development, Scriabin managed to increase the amplitude of the development of affects. The spectrum of feelings in one miniature composition could convey diametrically opposite faces.

Contemporaries praised the works. During the life of Scriabin often performed his own compositions, which were popular.

Preludes from various opus were included in the repertoire of the world's best pianists, both of the twentieth century and the twenty-first century, including:

• Vladimir Horowitz;
• Heinrich Neuhaus;
• Mikhail Pletnev;
• Svyatoslav Richter;
• Vladimir Sofronitsky.

Each of the geniuses listed above was able to bring in their own vision and create a truly interesting interpretation. Nevertheless, it is believed that the author’s performance, which is difficult to find today, is a standard. Scriabin, as a performer, succeeded in an almost impossible sound plan. The peculiar "nervous" technique literally hypnotized the listeners, forcing them to delve into each sound, and keeping the audience in constant tension. At the same time, he kept an absolutely calm expression on his face. For his ability to convey mood, he was often called Chopin of his time.

Interesting Facts

• In 2006, the documentary “The Man Who Made God” was shot, telling about the composer’s creative and biographical way.
• In the work of Scriabin represented fifteen cycles. In total, 83 preludes have been created. Opus 11 is considered the largest, it includes 24 compositions.
• In addition to piano preludes, a musician in 1898 wrote a piece in this genre for orchestra, dubbed "Dreams".
• Scriabin's favorite composers were Chopin and Tchaikovsky.
• At age 15, the young musician decided to compose a piano ballad, but left it unfinished. The musical material became the basis for the prelude in E minor in opus 11.
• Alexander Nikolaevich Scriabin was the first to introduce the concept of "color music" as a theoretical term, despite the fact that Rimsky-Korsakov also had this gift. So each key had its own paint. The key in C major had a red color, and F sharp major, considered to be the personification of the cosmos and the universe, was projected in blue colors. This begins to show a tendency to symbolism.
• In 1959, the first Russian synthesizer, the ANS, was named in honor of the musician. The instrument has the widest range: 10 octaves, each with 72 sounds. A feature of this musical device is the ability to play the corresponding sounds of the drawn image on a special display. At the moment, the synthesizer exists in a single copy.
• At concerts, the musician practically never performed opus 74. Once, Scriabin was told that this number would bring misfortune to him, so he tried to avoid him. Nevertheless, this opus was the last complete cycle in life. It turns out the mission came true?
• Prelude was one of the most beloved genres.

Evolution in the miniature genre

Throughout his life, Scriabin constantly composed in the genre of miniatures, and eventually created 15 cycles of preludes.

The love of Chopin's creative work could not help but reflect on the composer’s works. So for several years, including also years of active touring the countries of Europe, Op. 11, consisting of 24 preludes. The collection was written entirely in 1896. Maximalism, manifested in character, was already making itself felt and the initially young genius plotted to write two such cycles, but later abandoned this idea.

This cycle is a kaleidoscope of images characteristic of the life period. Incredible impressions were embodied in musical paintings, the most striking of which are the following numbers:

• No. 5 (D major) is as if filled with peace and tranquility, which indicates an increasing luminous flux. The excitement prevailing in the middle emphasizes the climax, after which the cheerful tone returns.
• No. 10 (in C Sharp Minor) is quite dramatic. The constant tension expressed in sound expression underlines the tragedy of music and its detachment. In this foreplay you can see the first outlines of images of the will.
• No. 14 (E flat minor) reminds of an emotional whirlwind consisting of ups and downs. The constant rush seems to sweep away everything in its path. Texture saturation allows the listener to concentrate on the figurative component.
• №15 (D flat major) is woven from the air. On the background of light and weightless accompaniment, a song and an elegant melody appears. The miniature embodies the characteristic features of the lyricism of Scriabin, including a penchant for pastoralism.

In 1895-1896, four cyclical works appeared quite stylistically similar to the previous composition. It is worth noting that the numbering of cycles on dates is a bit confused, as in 1895, opuses 13 and 16 were released, and in 1896 - 15 and 17. The following compositions are of particular value for the music world:

• Op.13 No.3 reflects the world of bright lyrics;
• Op.17 No. 5 is filled with deep heartache and suffering.
• Op. 16 No. 4 - the embodiment of pathosis.
• Op. 15 №5 is fraught with a lot of romantic sadness.

In 1897, another 4 magnificent preludes will be released, which will be signed by the 22nd opus. For the time being, the composer is suspended from miniatures in favor of larger forms. Only in 1901 two diverse preludes will be written, filled with deep philosophical ideas. It was at this time that the musician begins to get involved in philosophy, there is a rethinking of the place of man in this world.

1903 becomes incredibly rich in creating miniatures. So from the pen of the composer appeared five cycles, each of which is different peculiarity. Preludes were written opus 31, 33, 35, 37 and 39. Each cycle, with the exception of the 35th, consists of 4 preludes. In all musical collections dominated by major tonalities, which speaks primarily about the optimistic outlook on life. Especially musicologists distinguish opus 37. It is rich in new, fresh and vibrant harmonic turns.

In 1905, 48 opus was published, consisting of four preludes, united in one way. The first and fourth preludes of this work seem to form a structural-logical arch, which reveals some signs of poetry. More expressed pathetic-volitional aspirations.

Increasingly, Alexander Nikolayevich is drawn to large forms. For almost seven years he didn’t write piano preludes. Only by 1912, when he finally moved to Russia, would he again return to the miniature genre, introducing insignificant changes into it. In opus 67, containing only two works, he does not attempt to enlarge the miniature, nevertheless combines two works on the principle of contrast.

5 piano preludes op. 74, written in 1914 will be the final essay in the miniature genre. Compositions 2 and 4 are considered to be related in this opus magnum. They are united by a gloomy-disturbing character, which is completely uncharacteristic of early and mature creativity. In rooms 1 and 3, the means used in the distant 1896 are revived. The circle of miniatures is closed.

Each of the preludes is a small world woven from sounds. Scriabin as if the artist is trying to create a real masterpiece with bright colors. He has an incredibly bright canvas that conveys a rich spectrum of emotions. You can listen to every sound and find new shades. Difficult in simple. This is the skill, this is the whole Scriabin.