A. Scriabin Symphonic Poems: History, Video, Content, Interesting Facts

A. Scriabin Symphonic Poems

Throughout his life, Alexander Nikolaevich Scriabin believed that art was the impetus to the transformation of man and the universe. His music is a reflection of the philosophical concepts of the Silver Age, a time when people created new spiritual orientations and were looking for new, innovative forms for self-realization in art. A peculiar understanding of the world and its device found expression in the symphonic works. The grandiose "Poem of Ecstasy" and the poem of fire "Prometheus" is a philosophy expressed by sounds and symbols. It is boundless, like outer space, music that enchants the listener.

Poem of fire "Prometheus". History and musical characteristics

For a long time Scriabin lived abroad, in 1910 there was a long-awaited return to his homeland. In Moscow, Alexander Nikolayevich lights up the idea of ​​creating the "Poem of Fire". Initially, the composer planned to finish the work until spring, but because of his touring the cities of the Volga region, accompanied by the S. Kusevitsky orchestra, he had to postpone the creation of a score until the near future. The trip lasted until summer, after which the author was able to get back to work. He strenuously composed a poem until the fall.

In the submission Scriabin The premiere was to be a massive and enchanting show. Multiplicity was expressed in the accompaniment of musical development by changing colors. Light waves, which were registered in the light line "Luce", according to the composer's idea, should have been executed on the color keyboard. An unusual instrument was made for a long time, but in the end it could not be used in the concert hall, which excluded the possibility of music and color synthesis. The distressed composer on the last day before the show noted in the score that performance is possible without using a color keyboard.

The premiere took place on March 2, 1911 and was a resounding success. The piano part was performed by Scriabin himself, the orchestra was ruled by Kusevitsky. The performance of the poem was the biggest event in the musical life of the country.

During the life of the composer could not put the "Poem of Fire" using light effects. Scriabin himself did not leave for the followers of the manual for decoding the line "Luce". Many musical researchers tried to understand the logic of the composer, but they failed to decipher the notation, therefore modern productions of the poem of fire "Prometheus" pass with a light composition, built not according to the author's idea, but compiled by the director.

In the last days of March in 1915 the poem "Prometheus" was staged in the main concert hall of New York using light effects. Due to the absence of Scriabin, the interpretation of the light line was arbitrary. Interestingly, the equipment was manufactured for more than two years specifically for the concert.

"Prometheus" is the most important image in the work of Scriabin. This is not a hero of myths, it is a semantic symbol. One idea in a person's head is capable of kindling a fire in his heart, which will make him capable of overcoming difficulties. Fire is life. In Scriabin’s work, Prometheus personifies the demiurge, the creator of the universe.

The idea shows the process of creating space. From the deafening silence, the first chord is born - “Prometheus”. Harmony of consonance continues to evolve. In the timbre of the horn, the theme of Prometheus is sternly and restrainedly revealed. Gradually, it changes beyond recognition and turns into a "topic of will". The musical material of the theme is distinguished by the underlined sound of the solo pipe.

The chant opening a new music section is a hidden and profound subject of reason. The selected flute timbre is accompanied by a bassoon and horn and allows you to experience the magnitude of the space.

Particularly colorful is the piano performing the solo. In the party of keys are many of the previously sounding themes. They become more lively, light and capricious. Particularly elegant and dreamy theme sounds movement.

The quivering theme of languor possesses extraordinary internal energy. Developing, all topics are intertwined. They collide and form something new. Constant movement, devoid of gravity, is a metaphor of time that runs tirelessly forward. Nothing will remain the same, everything will change and move forward.

The inclusion of a choir singing separate motifs can be considered a spectacular device in the work. An association with ancient folk songs arises in the head at once. Powerful vocal support arises as a monumental vocalist. organ. This climax point means coming to the hymn of life. Gradually, the heat decreases, and the music becomes gentle and touching. Everything subsides, and the soul remains silence, and the light that warms the soul.

A poem of ecstasy. History and musical characteristics

At the end of the winter of 1904, Scriabin and his family settled in Switzerland in a picturesque place not far from Lake Geneva, which inspired new works. But not only nature gave inspiration for new ideas, but also a passion for philosophy. He plans to present the studied concepts in a new work entitled The Poem of Ecstasy. He enthusiastically engaged in work on a new and very unusual composition, but his creative impulse is interrupted by the need to go on tour to Paris. He needs to come to the romantic capital of France in order to show the public the recently published Third Symphony.

Another event deeply agitated the composer's soul: this need to combine fate with old love - Tatiana Schlozer. After the successful premiere of the Third Symphony, lovers go to Italy. They settle in the small town of Bolyasco, where for a while they manage to forget about all the hardships, and the composer, in complete pacification, continues the composition of The Poem of Ecstasy. But the tragic circumstance forces one to descend from heaven to earth: in the summer of 1905, the composer dies his daughter. He buys a ticket and the next train goes to Switzerland. His ex-wife, Vera, is in deep despair, as all children suffer from whooping cough and need to be taken to another place so that they will recover faster. In Switzerland, he resides for about 10 days, after which, exhausted by all the upheavals, he returns to Italy.

Writing music helps to get rid of gravity and pain. He completely devotes himself to writing, prescribes every detail. Alexander Nikolaevich is especially attentive to orchestration. Having excellent hearing, Scriabin registers each voice separately. Until the completion of the work, it was still necessary to complete urgent orders over the piano pieces, as well as to go on tour to America.

In the autumn of 1907, when Scriabin lived in Lausanne, he finished the score. All this time, the program was also composed in a poetic form. The author of the literary text is the composer himself. The work was learned with the orchestra of M. Altshuller and demonstrated to the public in New York in 1908. The program was not printed in the music edition, so many fans of Scriabin dreamed of getting it.

Introduction opens lyrical theme languor. The musical motive sounds three times, but he does not bother the listener, as the composer skillfully entrusts his performance to different instruments. The trembling sound of the violins creates an unusually beautiful background that allows you to select the main musical line - the trumpet solo.

Contrast, but subduedly flows into the general flow of the theme of dreams. The expression is emphasized by the clarinet timbre. The development of musical material continues the exciting theme of flight. Virtuosity is emphasized by the timbre of the flute. The weightless string pizzicato picks up the embossed melody of the French horn. Thus, the image of a winged dream appears to the listener.

Tender violin invites the listener to enjoy the beauty of "wondrous images and feelings." The refined chromatized melody is especially beautiful and refined in the slow pace of Lento. In the idyll of the world sharply rush "disturbing rhythms", personified by chords of horns with mutants. They are suppressed by the proud theme of self-affirmation, based on the intonation of a reduced quart. "Divine will drives out ghosts terrible, disturbing rhythms."

The themes of languor and creations fascinate the listener with interesting, colorful modulations. So, "the spirit of the game, rushes to ecstasy," which creates a favorable atmosphere for the first sublime and beautiful climax. But on his way a barrier appears again, characterized by the monophonic holding of thematic material “disturbing rhythms”. The theme of self-assertion opposes negatively colored music. The emotional temperature rises to heat, which testifies from the second climax, the appearance of its tragic interpretation. But the spirit is not broken, it is reborn in the subject of protest. Trombones sound confidently and menacingly, followed by the topic of will. The opposition to the infernal world, the images of evil, takes place together.

As a bright ray, illuminating the darkness, the theme of pleasure appears. Bright shades are transferred to the theme of self-assertion, which sounds like a victorious anthem and becomes the main culmination. After it, the composer scrolls through all the moments related to the struggle and victory, as if the main shots appear in memory. This technique allows you to color the approaching, final episode in which the theme of "rhythms of fun" appears. This is a modified theme of "disturbing rhythms", which connects with other themes and leads the listener to the highest point of enjoyment and knowledge of the world - to ecstasy.

Characteristic features of Scriabin's symphonic poems

Scriabin's symphonic poems reflect the composer’s philosophical views on the world order. This music, in which there is a heat of thought and intellectualization of feelings. The rationality of the composer’s creative thinking made it possible to create systems of images that later played a large role in the drama of poems. It is conditionally possible to distinguish three figurative spheres that are involved in the formation of the dramatic line and conflict:

Thus, the path from the highest refinement to the highest grandeur, to ecstasy. In the author's understanding, ecstasy is spiritual power, which can be reached only with a strong will.

The composer uses a system of leitmotifs characteristic of each sphere. In the process of musical development, they collide with each other, creating tension. For his symphonic creativity is characterized by high emotional temperature, which does not decrease even for a moment. These permanent images became symbols, reflecting the trends of the Silver Age.

The foundation of the work is harmony. It is she who creates an unusual sound. Speaking about harmony, it is impossible to lose sight of the fact that the composer uses the "Prometheus" chord. His dissonant, sharp sound was not familiar to the audience. Nevertheless, the public of the 20th century readily accepted innovations. The structure of the chord is as follows:

In the future, the harmonic development is only complicated, which creates even more emotional stress. The flow of emotions and thoughts, like a thundercloud is rapidly moving forward. Discharging occurs only at the end of the work, when the sphere of "supreme grandeur" sounds epic. Copper composition leads on the background of the tuttiorquestra, creating scale and magnificence. Open space. Thanks to his own will and the desire to overcome difficulties, a person was able to become a real creator and the demiurge.

Interesting Facts

• The composer had "color hearing“Thus, genius associates various tones with a certain color. The ability to perceive sounds in shades is a rarity. It is worth noting that the famous composer Rimsky-Korsakov also possessed color-tonal hearing.
• Next to the musical rulers, on which the future themes for the poem "Prometheus" were located, the author indicated abbreviated notation: b., G., Cr., Black, etc. The composer did not leave the followers of their decoding. It is assumed that these records are nothing more than the coloristics of a particular topic. Many musicologists are actively looking for evidence, but they fail to collect supporting information, since Scriabin himself does not provide explanations.
• In 1908, Scriabin received the Glinka Prize for the composition "The Poem of Ecstasy". Up to this point, the composer has already received this trophy for other compositions, this award in a row has become 11.
• During the life of the composer it was not possible to realize the idea associated with the performance of the poem "Prometheus" with the use of light effects. Unfortunately, the idea of ​​synthesizing music and light could not find life due to technical reasons. The manufactured device for the performance of the light party "Luce" was not suitable for use in the concert hall and could only be turned on in open space, because of this, the composer had to make a note at the last moment “Can be performed without a string of light”.
• The main thematic elements of the "Poems of Ecstasy" were indicated in the notes by the author only after the work went into print, so many publishers do not designate them in the notes.
• The poem of fire "Prometheus" has no program, the author insisted that the work is not related to the ancient Greek myth. In the composer’s understanding, “The Poem of Fire” personifies renewal, purification of consciousness.
• There is a detailed program "Poems of Ecstasy", created by the author himself. She has a huge amount of detail that conveys a musical image. The volume of the program is 10 pages. Music editions usually do not publish this poetic text, so after the appearance of the program, it immediately became very rare, it was almost impossible to find it at that time. Today, the author's literary text can be found on the Internet in the public domain.

The poem of ecstasy and the poem of fire "Prometheus" - these are the main symphonic works in the works Alexander Nikolaevich Scriabin. The circle of images, symbols confirms the composer’s philosophical vision. His desire to conquer darkness and restore order. Cosmos against chaos, mind against impulses and stupidity. If a person is aware of his place and purpose in life, then he can comprehend the mystery and experience real pleasure. He can become a creator and give people a fire that will ignite in their hearts a spark of goodness, light and hope for the best. Scriabin's symphonic music is a separate cultural stratum, a separate galaxy penetrated by bright light and having its own unique device.