Aleksandr Scriabin: The Messiah Of Experimental Music

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Autograph / signature, from the manuscript of Two Poems, Op. 63. The composer uses the French spelling "Scriabine". Image: Public Domain
Aleksandr Scriabin took the untrodden path, seeking an amalgamation of cultures & coalescence of music.

In 1894, Aleksandr Nikolayevich Scriabin, a 23-year old Russian pianist made his debut at a concert in St. Petersburg. His performance got rave reviews, critics lavished praise on him and compared him to Frédéric Chopin. Gauging his early work, they expected him to become one of the most celebrated composers in Russia. But as fate were to have it, Scriabin went on to become one of the most controversial figures in the world of classical music.

He abandoned his tonal idioms and started experimenting with his music, seeking grand extravaganzas. But his experimental compositions evoked strong reactions from the audience. At the Second Symphony in Moscow, half the audience booed at him, while the other half applauded his performance. One of his harshest critics, the legendary composer Nikolai Rimsky-Korsakov, called his compositions a “cacophony.” Undeterred, Scriabin carried on with the conviction that he was the Messiah of experimental music.

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The acoustic and octatonic scales, and their combination. Image: Public domain.In 1904, Scriabin left his job and started living in different parts of Europe, where he continued to learn, innovate and experiment with his music. He explored the nuances of the tone and assayed the various forms of presentation. For instance, when he performed the symphonic poem, Prometheus, he used sound and light effects in his concerts.



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