scriabin's orchestral works were amazing, not only were they ahead of their time, but they were some of the greatest masterpieces that a human could have possibly written
@@DeeCeeHaich "my melody is a decomposed harmony, my harmony is a condensed melody" Scriabine said. So counterpoint is equal to harmony. By the way how could you not see the importance of harmony since in his last period (from op.60) he literally "created" a chord and based everything around it.... For me it's obvious that Scriabine was a musician in search of unity, and considered every aspect of a musical piece (harmony, melody, rythm, structure, timbre etc.) to be ruled by the same principle. He may have achived that perfect synthesis in Mysterium if he hadn't die.
@@tarikeld11 The last two chords were the ones I was referencing. The "I" notation I used represents a simple major chord, which would be the very last chord.
Just before the final C chord there is even a b as leading note superimposed on the IV chord so you have a IV and V cadence at the same time, sort of super strong cadence.
This is one of the most emotionally impactful and beautiful pieces of music I've ever heard; Scriabin's unique sound is other-worldly and definitely is ecstatic.
@@f.p.2010 There are three interpretations of this comment: 1. This is meant to be taken literally. That is, in trillions upon trillions of years from now, some ethereal entity beyond the realm of physical existence will in some fashion visit our "dying" universe, and with some notion of consciousness decide to produce a collection of sound waves that exactly mimics that of strangely shaped objects made out of strange materials organized by a strange individual that could have been found on a single planet trillions of years ago. 2. This is not meant to be taken literally; this is some sort of metaphor. My best guess is that this is an eye-rollingly corny metaphor for saying "this music sounds nice." 3. "Funeral of the universe" is an actual event just with a misleading name, and this music should be played during said event. None of these interpretations are reasonable. The first is clearly absurd, and after a quick Google search the third doesn't seem to be correct, either. I am left to believe that this is a metaphor, but I am optimistic that it's meaning is not this cheesy interpretation I've made. So, when you ask "what's there not to get," it's this metaphor.
Totally unique. One has only to hear the first bar to know the composer. Scriabin labored mightily over this composition which, to me, has everything one could ask for. The ending is just stupendous.
This work - like almost everything Scriabin ever wrote - is completely unique and special. It is unlike anything I have heard before or since I first listened to it. The memory of hearing it for the first time will stick with me forever.
Love all the wonderful innovations of this period of music, early 20th century. Ravel, Stravinsky, R. Strauss, Holst, etc. A real, precious gift to the world.
@@DeeCeeHaich I think you are right. I still enjoy a lot of Ravel's music. I think he was creative, but that is different from being innovative. There is nothing in particular about his music that I could call entirely new. I think Stravinsky probably pushed boundaries a little, but his innovation is nothing compared to Scriabin's. The fact that that guy even mentioned Strauss and Holst makes me think that he doesn't understand the concept of musical innovation at all. Strauss and Holst did not change the course of musical history one bit. They are evolutionary dead-ends.
Recently heard this for the first time ever, and it was played live. Feeling incredibly fortunate that I got to witness this being performed in real time as my first ever experience with it.
I heard it live in Kansas City in March as well, and I will never forget walking out afterward and looking at the other concertgoers and wondering how it was that everyone appeared to be so "normal," when I felt like I'd just had my soul shredded in the most intense and beautiful way and could barely hold back tears as I made my way out.
@@lrvolkman The organ was simply unreal. I was SO excited when I saw that it was going to be used and despite the long wait, it really, really did NOT disappoint.
Petrenko and Berliner brought me here. Only heard the ending before, but what a thrill to listen to the whole piece!! Will definitely get the full score.
This is really unique flavour. An picture; As if I was reaching for the stars. The bright stars are gliding past me as if they were blinding. I am surrounded by the mystery of the night with its cold arms, but at the same time, as I ascend to the sky, my body evaporates with the burning lights of the stars and I rise again with my soul in the fog. This is what I felt when listened masterpiece
I'm relatively new to this kind of music, but this piece... It exceeds all and everything I have ever heard; music, poetry, the language of love, everything. This is pure essence, and with Deleuze words: "what can you do with the essence, the final difference which nothing could replace, but to repeat it?"
My curiosity with the transformation of his sound led me to dig out a book I purchased a long time ago but am only getting to now titled Scriabin His Life and Times by Rudakova and Kadinsky. Although it is about 150 pages it is a pretty large sized book, maybe 24 x 12 and contains excerpts of many letters he wrote and some wonderful photos not only of him his wives and family but also selected pages of original manuscripts, concert programs, places he lived and studied and wrote music, and photos of notable musicians who championed his music and premiered his orchestral music and also many of his contemporaries and teachers including Taneyev, Rachmaninoff, Miaskovsky, Lyadov. Glazunov, Rimsky Korsakov, Alexandrov, Stravinsky, Shostakovich, many others. It great to have if you're a fan of his or Russian music in general. Maybe this will be one step closer to understanding the cause and theory of the changes he made with his music I am so curious about.
+scottbos68 That's great to hear! I have been researching Scriabin in the past before, but no resource is complete... Please share with us (me) interesting anecdotes about him or his music here if you want!
Nothing new with respect to music analysis, everything we discussed pretty much covers what I have found so far. It's still a great book to have if you're a fan.
It's an oop book but you can get a used copy www.amazon.com/Scriabin-Life-Times-Ye-Rudakova/dp/0866220062/ref=sr_1_1?dchild=1&keywords=Scriabin+kadinsky&qid=1586802325&s=books&sr=1-1-spell
He was, but it's almost impossible to really get away from it, since there are certain parts of even atonal music that can be a bit tonal. I think Bernstein explained it best. There are some of his video lectures online that you should look at, where he discusses Schoenberg and his pupils.
scriabin surely captures infinite ecstatic samadhis, all included in a just a moment of pure awareness which can devour the whole universe. here he creates a new dimension, a small buddha-field, full of buddhas.
What a magnificent sculpture, the expression on her face is so - well - expressive, what an appropriate image to display as it relates to the title and concept. I don't know why but there is a certain warmth I feel when I hear this: golds and yellows and oranges but at the same time it's so alien - like watching a Vulcan sunrise - from another planet. From my perspective, I do not associate this with ecstacy, I do not associate this with being human. It is a sound from a different world. It is terrifically modern without being dissonant or atonal, a fresh sounding piece even though it was written over 100 years ago.
+scottbos68 Did you also read Miller's reference? '...a bath of ice, cocaine and rainbows'. Be careful with this piece, I was obsessed with it for quite some time ;)
Yes I read everything, it's a reference I can't relate to but that's just me, I don't really associate the title with the music either and that's OK, I think the music is so abstract that hundreds of people could hear it and every single one would say something different about it.
scottbos68 Yes of course, everyone has their own associations with the music they hear. I can associate the music with the title, but you're right that you don't necessarily have to associate with it, to enjoy the music.
As an experiment I went to different yt clips of this music to see what other people said about the music and many described it as floating through space and other worldly.
In case you didn't know, this is a musical genre from the romantic era called "Symphonic Poem", and this poem is written based on Bernini's "Ecstasy of Saint Theresa" sculpture, as it shows her at the very beginning. That's why this has this title, The Poem of Ecstasy.
W. Esteban Labrador I believe this symphonic poem was not based on the Bernini's sculpture. In fact, Scriabin wrote a poem to accompany this work. I believe the first interpretation is more accurate than yours. Greetings from Spain.
@@Quotenwagnerianer I can tell you. It was brash, beautiful, exquisite, harmonically tragic, overwhelming, and a blissful masterpiece. I felt as if I was weightlessly floating in the airwaves carefree whilst becoming enveloped in every timbre of the orchestra. 10/10 would recommend
This music speaks to the emotions in a powerful but eerie way. In that sense, it reminds me a lot of the cosmic horror in Lovecraft. I think Scriabin would have liked it.
ilgu tēma [izsmalcināti pustoņi un lēcieni, flauta u.c.] 0:050:10 lidojuma t. [trauksmains jamba ritms!] 2:102:05 pašapliecinājuma t. [heroika, trompetes, jambs, kvartas augšup] 4:00
@@juanrivero6432 but look at the bass motion at 17:17. It goes from G (of a dominant ninth) to C and stays there for the rest of the piece. The bass on C should have a C major triad over it, but it has ultra-long appoggiaturas on different chords before landing on the home chord. This concept is very typical (see for example the ending of Mozart's K.2), but here it's brought to absurd lengths to the point it becomes quite distorted.
@@adlfm Yeah youre right! I thougth you were talking about the cadence at the very end! (The first time that i heard that last part of the piece i didnt knew what kind of cadence was until i look at the score, so i thougth that you had the same confusion as me)
Can't believe that as a neoliberal hater the greatest thing in the world you can imagine is a failed assassination attempt on a US president, truly in need of political creativity in your mind. Time to study and read about communism.
@@braedonkirkpatrick2143 I agree extase is more emotional however I think this was Scriabins intention as Prometheus and especially works like the 7th sonata are almost totally mystical in mood. You've got good tastes aha .
@@brucedavies8154 Thanks! Dont get me wrong, I still love Prometheus, although for some reason his 7th sonata eludes me. I haven't been listening to scriabin for that long though, so maybe I'll grow into it
This is the music we hear when we are in the silence making love to someone we truly want to spend the rest of our life with and are giving of ourselves--and they of themselves--fully and inexhaustibly.
After further review the wiki page for the mystic chord seems to expand our discussion of this alien harmony better than any reference I have found so far. The chord itself implies a Lydian dominant tonality which is the 4th degree of the major/minor scale, this is the first thing that popped in my head but upon reading superimposing different series of tones on the top allowed him to change tonality at will. This says two things to me, first the function of the chord is to disguise the tonality so the melody is free to go in any direction, it is not tied to major or minor, second the tones played on top of the chord imply a series of notes invloving more than seven notes, or mixing scales togather for example whole tone mixed with Lydian or synthetic scales like half whole half whole or half half whole half half whole. Scale theory is only a way of describing the patterns of intervals but in practice I don't think he was thinking about that, I think these strange melodic patterns started to emerge and I think he was just substituting different intervals to keep these melodic patterns interesting and finding a chord that allowed him to explore without being tied to a specific tonal series. I think he was looking for that note that gave it an alien sound, then a few bars later was reaching for something completely different. I think he was also trying to disguise the concept of a defined tonal center.
+scottbos68 I think Scriabin always kept a tonal center, that's why you can see sections were the chord tones are transposed, with the tonic changed as well. I once watched a video of someone discussing Scriabin's 7th piano sonata, well worth the watch because you can see exactly what Scriabin did: th-cam.com/video/99RZv2WHP0M/w-d-xo.html
The mystic chord is basically Lydian dominant voiced in 4ths - the 4th mode of the major minor scale - g minor major is a straight major scale w a minor 3rd so g a b flat c d e F sharp - the 4th degree is the same thing starting on c - c d e F sharp g a b flat - now all you have to do is start on c - skip 2 notes play F sharp skip 2 notes keep going...
Not sure if this thread is still relevant, but you can find a hell of a lot of Lydian and Lydian-dominant harmonies in Scriabin's music, particularly from his middle period, though he used it as early as the Nocturne for the Left Hand Op. 9 No. 2. His harmonic language expanded well beyond that in his late period, so far as including an almost twelve-tone approach to his Five Preludes Op. 74 No. 4.
@@olla-vogala4090you must be very musically incapable if you cannot tell the tonal center merely by listening. Though, people still think a half cadence after a secondary dominant is a modulation, so I guess it's not that uncommon to be unable to hear the tonality of scriabin's pieces.
I’m seeing this live in a few months so I’m listening beforehand so that it will be easier to follow. So far I don’t love this - I don’t really get it actually. However, this is only my first time listening. I’m going to keep trying
Parts that stand out to me: 2:33 8:15 etc 12:19 (cute, almost tranquil, like a baby star being born) 13:35 and on 12:51 horns (imperial, feels like a break in war) 14:49 (like nymphs prancing around the stars) 16:24 - 16:38 sounds like sex 16:49 and on i would include the climax, but do I really need to?
Spirit, Winged with the thirst for life, Is drawn into flight On the summits of negation. There, under the rays of its dream, Emerges a magical world Of heavenly forms and feelings Spirit playing. Spirit desiring. Spirit creating all with a dream. Surrenders to the bliss of love. Amid the rising creations It dwells in languor, From the height of inspiration Calls them to flower. And drunken with soaring It is ready to sink into oblivion. But suddenly . . . Trembling presentiments Of dark rhythm Break rudely into This enchanted world, But only for an instant. With light increase Of divine will It dispels Frightening phantoms. And it attained Only desired victory Over itself. Spirit playing, Spirit caressing, Spirit calling hope of joy Surrenders to the bliss of love. Amid the flowers of its creation, It lingers with a kiss Over a whole world of titillation Summons it to ecstasy. Intoxicating it with beauty It is transported, it tiptoes, Dances and whirls; With a whole range of sensations It is tormented, wearied. Ready to sink into oblivion But again . . . From mysterious wombs The spirit confused A formless host Of savage terrors Rises stormily In menacing waves; It threatens All to submerge. Spirit, Winged with the thirst for life, Is drawn into flight On the summits of negation. There, under the rays of its dream, Emerges a magical world Of heavenly forms and feelings. Spirit playing, Spirit suffering, Spirit creating grief by doubt Succumbs to love’s torment Mid the flowers of its creations It lingers in torment, With whole earth shakings, Calls them to death. Seized with fear, It is ready to sink into oblivion But then . . . Bright presentiments Of shining rhythms Awake within it. Sweet moment! With rays of hope Radiant again It burns for life. And marvelously attained Is the power Of divine will. It pierces The dark abysses With glowing glances, It shouts with rage And fury . . . The battle blazes. Yawning caverns Of monster mouths Flash menacingly Passionate lightning streaks Of divine will, All-conquering; Radiant reflections Of magical light Illuminate the world. Spirit, Forgetting the beloved goal, Drunkenly yields the struggle. All enraptured, Fully delighted With free Godlike play The struggle of love. In the divine loftiness Of pure aimlessness, In combining Opposing desires In single awareness, One love. Spirit learns Its divine essence. It knows that Which desired struggle; It desires only, And events Assembled round This wish In harmonious order Capricious emotion. Spirit, Playing, changing Vibrates the universe Explaining Affirming. Desirous of victories, It was victorious, It is triumphant! And to its beloved realm, Joyous, it can return now. But what darkens The glorious moment? ALAS! IT HAS ATTAINED ITS PURPOSE. It longs for past struggle. Instantly it feels Boredom, melancholy and emptiness. But with thirst of life, Again it is winged Is drawn into flight On the summits of negation. There, under the rays of its dream Emerges a magical world Of heavenly forms and feelings. And tormented by nothing It can eternally Surrender to Favored dreaming But why, O rebellious Spirit, Again is Thy rest perturbed? No disturbing rhythm Overshadows Thee, No dreadful phantoms Haunt. Only monotony’s Infecting poison, The maggot of satiety Devours feeling With sickly cry The universe resounds: Something else! The new! Wearied of pleasure Worn with pleasure But not with life, Spirit lifts into flight To the kingdoms of grief and suffering. And in its free return To the world of dream and of excitement It comprehended miraculously The idea of evil’s Mysterious abysses. Again the dark caverns Gape open Again the mouths threaten to swallow Again battle, The girding of will The wish to conquer all. Again victory, again intoxication, And rapture And satiety. With this increasing rhythm Beats the pulse of stronger life! O my world, my life, My blossoming, my ecstasy! Your moments each by each I create by negation Of earlier experience. I am forever Negation Again and Ever anew! More powerful More tender, New torture, Fresh beatitude. Delighting in this dance, Choking in its vortex. Unmindful of goals Beloved aspirations Spirit surrenders to playful drunkenness. On powerful wings It speeds Into realms of new discovery Of Ecstasy. In this endless change, In this purposeless, godlike flight Spirit comprehends itself By its might of will. Alone, free Ever-creating. All-illuminating All-lifegiving Divine play In multiplicity of forms: It knows itself As the palpitation of life, The wish to burgeon In the struggle of love. Spirit playing Spirit fluttering By its enduring longing Creating Ecstasy Gives itself up to Love’s thrill Mid the flowers of its creations It lives in freedom. “I summon you to life, Hidden longings! You, sunken In the somber depths Of creative spirit, You timid embryos Of life, To you I bring Daring! Now, you are free! Fragment and flower Separately Rise up one against another Flee to the summits That in sweetest bliss You may know all your oneness Annihilated within me! Rise up one against another, Strike against me, Negate your love! Turn against me, all people and elements, All horrors lift up your heads Try to destroy me, Caverns of dragons’ mouths Serpents twist round me Constrict me and bite me! When all rises Against me, Then I begin My Play. O waiting world, Weary world! You are thirsting to be created You see the creator. Your tender sweet sigh, Calling Has been wafted to me. I will come. Already I dwell in you O world of mine! With mysterious delights Of unknown feelings, With myriads of dream and vision, With inspiration’s flame With Truth seeking, With the forbidden wish Of divine freedom. O my beloved world, I shall come. Your dream of me Is being born It is I. Already I am manifest In mysterious presence A barely perceptible Breath of freedom. Lightly, A wisp of dream The wave Of my being Has already seized you. You are quivering already I am your beloved freedom, You my beloved world! I am come To dazzle you With the marvel Of enchantment repeated; I bring you The magical shiver Of scorching love And unimaginable caresses. Surrender to me in all faith! I will drown you in oceans of bliss And beloved kisses And great heaving waves But in our remoteness playing Only the spray Envelopes you And you insanely desire Something else! The new! And then in torrents of flowers I will lie upon you With aromas and scents I will bask languidly In this play of fragrance Now tender, now sharp In the play of touches, Now soft, now harsh And sinking into passion You will Whisper: Again and Ever again! Then I will plunge With a horde of fearsome monsters With savage torment and terror I will crawl upon you with venomous nests of snakes And will bite and choke you! And you will want me More madly, more passionately. Then I will lie upon you Under rays of celestial suns And you will burn with the fires Of my emotion The holy Flames of desire For the sweetest, The most forbidden, Most mysterious. And all of you is a single wave Of liberty and joy. Multiplicity has created you. Legions of feelings Have elevated you O pure desires, I create you, This complex unity This feeling of bliss Seizing you completely. I am the instant illuminating eternity I am the affirmation. I am Ecstasy.” The universe Is embraced in flames Spirit at the summit of its being Feels Endless tides Of divine power Of free will Emboldened, That which menaced Is now seduction. That which frightened Is now pleasure. And the bites of panther and hyena Are new caresses And the serpent’s sting Is but a burning kiss. And thus the universe resounds With a joyful cry I AM!
Literally just had an out of body experience listening to the ending for the first time
scriabin's orchestral works were amazing, not only were they ahead of their time, but they were some of the greatest masterpieces that a human could have possibly written
Totally insane, outstanding, crazy harmony. that's why I listen Scriabin.
Just absolutely outstandimg
@@DeeCeeHaich "my melody is a decomposed harmony, my harmony is a condensed melody" Scriabine said. So counterpoint is equal to harmony. By the way how could you not see the importance of harmony since in his last period (from op.60) he literally "created" a chord and based everything around it....
For me it's obvious that Scriabine was a musician in search of unity, and considered every aspect of a musical piece (harmony, melody, rythm, structure, timbre etc.) to be ruled by the same principle. He may have achived that perfect synthesis in Mysterium if he hadn't die.
One of the most underrated and unknown composers (by his actual relevance)
all those things whilst still being totally pleasant to listen to!
No other composer could make a IV7flat5 to a I chord sound like the most rewarding and satisfying ending ever.
Which timestamp? Isn't the last chord a simple major chord?
@@tarikeld11 The last two chords were the ones I was referencing. The "I" notation I used represents a simple major chord, which would be the very last chord.
That sound like Ecstasy
Just before the final C chord there is even a b as leading note superimposed on the IV chord so you have a IV and V cadence at the same time, sort of super strong cadence.
That is one of the most fantastically beautiful climax-endings i have ever heard in all music period.
There is happening everything before then that c major triad daaaaaaaaaaaamn!
This is one of the most emotionally impactful and beautiful pieces of music I've ever heard; Scriabin's unique sound is other-worldly and definitely is ecstatic.
This music should be played at the funeral of the universe.
What the fuck does that even mean
@@antoniocastelli5699 exactly what it says? what's there to not get?
@@f.p.2010 There are three interpretations of this comment:
1. This is meant to be taken literally. That is, in trillions upon trillions of years from now, some ethereal entity beyond the realm of physical existence will in some fashion visit our "dying" universe, and with some notion of consciousness decide to produce a collection of sound waves that exactly mimics that of strangely shaped objects made out of strange materials organized by a strange individual that could have been found on a single planet trillions of years ago.
2. This is not meant to be taken literally; this is some sort of metaphor. My best guess is that this is an eye-rollingly corny metaphor for saying "this music sounds nice."
3. "Funeral of the universe" is an actual event just with a misleading name, and this music should be played during said event.
None of these interpretations are reasonable. The first is clearly absurd, and after a quick Google search the third doesn't seem to be correct, either. I am left to believe that this is a metaphor, but I am optimistic that it's meaning is not this cheesy interpretation I've made. So, when you ask "what's there not to get," it's this metaphor.
@@antoniocastelli5699 the first is not absurd. Scriabin was next to the Absolute after Mahler, whatever he said comes or will come true.
@@f.p.2010 Then let's agree to disagree.
Totally unique. One has only to hear the first bar to know the composer. Scriabin labored mightily over this composition which, to me, has everything one could ask for. The ending is just stupendous.
This work - like almost everything Scriabin ever wrote - is completely unique and special. It is unlike anything I have heard before or since I first listened to it. The memory of hearing it for the first time will stick with me forever.
Love all the wonderful innovations of this period of music, early 20th century. Ravel, Stravinsky, R. Strauss, Holst, etc. A real, precious gift to the world.
don't forget PDQ Bach... ;)
@@bckm54 LMAOOO
Scriabin is the only one of that time that actually innovated, all those you mentioned merely regressed
@@DeeCeeHaich why
@@DeeCeeHaich I think you are right. I still enjoy a lot of Ravel's music. I think he was creative, but that is different from being innovative. There is nothing in particular about his music that I could call entirely new. I think Stravinsky probably pushed boundaries a little, but his innovation is nothing compared to Scriabin's. The fact that that guy even mentioned Strauss and Holst makes me think that he doesn't understand the concept of musical innovation at all. Strauss and Holst did not change the course of musical history one bit. They are evolutionary dead-ends.
Recently heard this for the first time ever, and it was played live. Feeling incredibly fortunate that I got to witness this being performed in real time as my first ever experience with it.
I heard this live at Kansas City in early March. Is this the performance you are talking about?
@@mysterium364 Yeah, that's the one!
I heard it live in Kansas City in March as well, and I will never forget walking out afterward and looking at the other concertgoers and wondering how it was that everyone appeared to be so "normal," when I felt like I'd just had my soul shredded in the most intense and beautiful way and could barely hold back tears as I made my way out.
@@lrvolkman The organ was simply unreal. I was SO excited when I saw that it was going to be used and despite the long wait, it really, really did NOT disappoint.
A true innovator who deserves as much recognition as Stravinsky.
one of the most beautiful symphonies of 20th Century
It's a symphonic poem, but yes, I agree
Petrenko and Berliner brought me here. Only heard the ending before, but what a thrill to listen to the whole piece!! Will definitely get the full score.
Holy shit, Scriabin. This is powerful
This recording is one of the best musical experiences I ever had!!
I’m always thrilled by 13:00-13:52 - full of yearning and ominous wonderment and voluptuous beauty!
This is really unique flavour. An picture; As if I was reaching for the stars. The bright stars are gliding past me as if they were blinding. I am surrounded by the mystery of the night with its cold arms, but at the same time, as I ascend to the sky, my body evaporates with the burning lights of the stars and I rise again with my soul in the fog.
This is what I felt when listened masterpiece
Scriabin 4 moment
Grandiose, exubérant, génial..
Grandioso e avveniristico nell’orchestrazione .
I'm relatively new to this kind of music, but this piece... It exceeds all and everything I have ever heard; music, poetry, the language of love, everything. This is pure essence, and with Deleuze words: "what can you do with the essence, the final difference which nothing could replace, but to repeat it?"
well said, comrade
described it perfectly, comrade
i don’t have words to describe this
There are moments where the impression is of peering into arcane, startling, and vast secrets of reality.
Overwhelming, bombastic, heroic
My curiosity with the transformation of his sound led me to dig out a book I purchased a long time ago but am only getting to now titled Scriabin His Life and Times by Rudakova and Kadinsky. Although it is about 150 pages it is a pretty large sized book, maybe 24 x 12 and contains excerpts of many letters he wrote and some wonderful photos not only of him his wives and family but also selected pages of original manuscripts, concert programs, places he lived and studied and wrote music, and photos of notable musicians who championed his music and premiered his orchestral music and also many of his contemporaries and teachers including Taneyev, Rachmaninoff, Miaskovsky, Lyadov. Glazunov, Rimsky Korsakov, Alexandrov, Stravinsky, Shostakovich, many others. It great to have if you're a fan of his or Russian music in general. Maybe this will be one step closer to understanding the cause and theory of the changes he made with his music I am so curious about.
+scottbos68 That's great to hear! I have been researching Scriabin in the past before, but no resource is complete... Please share with us (me) interesting anecdotes about him or his music here if you want!
Nothing new with respect to music analysis, everything we discussed pretty much covers what I have found so far. It's still a great book to have if you're a fan.
@@ziegunerweiser Where can I find the place where you discussioned?
It's an oop book but you can get a used copy
www.amazon.com/Scriabin-Life-Times-Ye-Rudakova/dp/0866220062/ref=sr_1_1?dchild=1&keywords=Scriabin+kadinsky&qid=1586802325&s=books&sr=1-1-spell
That ending......
Is just wow.
amazing recording of an amazing piece
🔸Вступление
Тема томления - 0:00
🔸ГП - тема мечты - 1:03
СП - тема полёта - 2:06
ПП - тема возникших творений - 2:33
Тема воли (труба) - 3:30
Тема самоутверждения (труба) - 3:45
🔸Разработка:
Начало - 4:32
1 кульминация - 6:13
Тема протеста - 6:57
Тема воли - 7:16
2 кульминация - 9:03
🔸Реприза
ГП - 9:52
СП - 11:16
ПП - 11:44
Темы-триады - 12:44
Тема протеста - 13:28
Тема самоутверждения - 14:32
🔸Кода:
1 раздел Charme - 14:47
2 раздел - 16:45
Экстаз Maestoso - 17:17
Ну просто золото, цены тебе нет...
Святой человек, спасибо тебе!!!
Храни Вас Господь 🙏🏻
Intoxicating orchestration melody and harmony. Music of transport.
that horn section omg
Shades of white... purple mist... floating in the High sea... the crowds in awe from the sunrise
Any lump of wood after hearing this piece: *BONFIRE LIT*
Вступ- тема "томління" - с. 3;
тема "волі" - с. 4, 0:42;
Г.П. - тема "мрії" - с. 7, 01:03;
С.П. - тема "польоту" - с. 12, 02:07;
П.П. - тема "творінь, що виникли" - с. 18, 02:33;
З.П. - тема "волі" - с. 22, 03:33;
тема "самостверждення" - с. 22, 03:46;
тема "протеста" (розробка) - с. 55, 06:57.
ДЯКУЮ
0:10 , 2:05 , 2:32 , 3:28 , 3:45 , 6:55 ; 17:05 , 18:15 , 18:20 ;
WHAT NOT IN THE WORLD IS THIS WEIRD AND SPACY THING? I LOVE IT!
I love love love this piece
Alekszandr Szkrjabin:Az Eksztázis költeménye Op.54
1.Andante languido - Lento soavamente 00:10
2.Allegro - Allegro dramatique 06:13
3.Lento - Allegro volando 09:52
4.Allegro molto. Leggerissimo. Volando 16:44
Berlini Rádió Szimfonikus Zenekara
Vezényel:Vladimir Ashkenazy
Köszönöm az értékelést
Thank you
I don't think this piece is supposed to be divided into movements lmao
@@dukeofcurls3183 He is dividing them by tempo changes; otherwise, there would be nothing to comment.
Köszönöm az értékelést
0:00 вступление т.томления
1:03 ГП т.мечты
2:06 СП т.полёта
2:33 ПП т.творений
3:30 ЗП1
3:33 ЗП2
3:46 ЗП3
16:45 Coda
17:17 Climax
0:10 вступл., т.томления (fl.)
1:03 ГП, т.мечты (cl.)
2:05 СП, т.полёта
2:33 ПП, т.творений (vno solo)
3:29 ЗП1, t.trevogi (corni)
3:32 ЗП2, t.voli (trba)
3:46 ЗП3, t.samoutverzhdenia (trba)
3:59 'liricheskoe otstuplenie'
4:32 razrabotka
6:57 epizod razrabotki, t.protesta (trni)
7:15 prodolzhenie razrabotki, ЗП1 i ЗП2
9:00 kulminacia razrabotki, t.samoutverzhdenia
9:51 repriza ГП, т.мечты (cl.)
12:58 t.samoutverzhdenia
14:47 Coda
16:45 2 razdel Codi
17:17 Climax, 18:18 pausa generala, 18:20 vershina !
Beautiful! Thanks for sharing!
7:39 that build up is celestial, how on earth could he create such things. 13:54 17:07 18:20
Utterly fantastic.
This music is a brilliant argument that tonality can never be completely abandoned.
It's not only that.
That idea haunted even schoenberg's twelve tone music.
How? Wasn't Schoenberg all about abandoning tonality?
He was, but it's almost impossible to really get away from it, since there are certain parts of even atonal music that can be a bit tonal. I think Bernstein explained it best. There are some of his video lectures online that you should look at, where he discusses Schoenberg and his pupils.
Just looked up those lectures, thanks for showing me! Really informative!
Best version I've heard.
I can tell you enjoy your music by your profile pic best anime ever in my opinion and has some more amazing classical
Like taking a bath in Sound
scriabin surely captures infinite ecstatic samadhis, all included in a just a moment of pure awareness which can devour the whole universe. here he creates a new dimension, a small buddha-field, full of buddhas.
Well said!
Imagine what he would have done had he lived longer
the buildup from 7:17 to 8:03 gave me chills lol
Harmonic galore ... ...
What a magnificent sculpture, the expression on her face is so - well - expressive, what an appropriate image to display as it relates to the title and concept. I don't know why but there is a certain warmth I feel when I hear this: golds and yellows and oranges but at the same time it's so alien - like watching a Vulcan sunrise - from another planet. From my perspective, I do not associate this with ecstacy, I do not associate this with being human. It is a sound from a different world. It is terrifically modern without being dissonant or atonal, a fresh sounding piece even though it was written over 100 years ago.
+scottbos68 Did you also read Miller's reference? '...a bath of ice, cocaine and rainbows'. Be careful with this piece, I was obsessed with it for quite some time ;)
Yes I read everything, it's a reference I can't relate to but that's just me, I don't really associate the title with the music either and that's OK, I think the music is so abstract that hundreds of people could hear it and every single one would say something different about it.
scottbos68
Yes of course, everyone has their own associations with the music they hear. I can associate the music with the title, but you're right that you don't necessarily have to associate with it, to enjoy the music.
As an experiment I went to different yt clips of this music to see what other people said about the music and many described it as floating through space and other worldly.
Mario, do you know the name of the sculpture?
OMG just amazing
Magnificent music,
Scriabin's masterpiece!
ilgu tēma 0:10
lidojuma t. 2:05
radošās rosmes t. 2:33
gribasspēka t. 3:33
pašapliecinājuma t. 3:45
Вступление
Тема томления, вст - 0:00
🔸ГП - тема мечты - 1:03
СП - тема полёта - 2:06
ПП - тема возникших творений - 2:33
З.П. - тема воли - 03:33;
2 -- 03:46
3 --- 06:57
🔸Кода:
1 раздел Charme - 14:47
2 раздел - 16:45
Экстаз Maestoso - 17:17
That idea of putting the pentagram in the video is very nice. And must have been quite a lot of work...
Pentagram?
Oh, sorry, in Portuguese we say "pentagrama" to refer to the lines and spaces where music is writen... I should have said music score.
Klaus Vargas yea, pentagram means 5 lines, from Greek "πεντάγραμμο". 😉
Saccidananda Sadasiva :)
Klaus Vargas how funny. I have the same problem with spanish. It is pentagrama, and It does not translate to Pentagram.
These intervals
Brilliant ending. Very hard to follow the score though. I would love to hear the piano version of this. It’s very hard to hear all the parts!
This piece is called The Poem of Ecstasy because when you listen to it you get put into a state of ecstasy.
nah it’s about sex u dummy
In case you didn't know, this is a musical genre from the romantic era called "Symphonic Poem", and this poem is written based on Bernini's "Ecstasy of Saint Theresa" sculpture, as it shows her at the very beginning. That's why this has this title, The Poem of Ecstasy.
W. Esteban Labrador I believe this symphonic poem was not based on the Bernini's sculpture. In fact, Scriabin wrote a poem to accompany this work. I believe the first interpretation is more accurate than yours. Greetings from Spain.
@@scriabinismydog2439 Just read Scriabin's poem. It's about sex.
This is what happened to Saint Teresa. She listened to this while she was in heaven and she lapsed into ecstasy again.
Beautiful
I mean weed has funny content and solid memes and all, but Sweet Mother of Jesus this is some real good shiz.
Exactly
I really don't want to know what happens to someone who takes LSD and then listens to this.
@@Quotenwagnerianer I can tell you. It was brash, beautiful, exquisite, harmonically tragic, overwhelming, and a blissful masterpiece. I felt as if I was weightlessly floating in the airwaves carefree whilst becoming enveloped in every timbre of the orchestra. 10/10 would recommend
Hey man do you still have some? How much for a gallon?
@@Quotenwagnerianer Psychedelics are very misunderstood.
Amazing, that he composed this four years before Custer's Last Stand.
brilliant !!!
šuriņbērniem
Ekstāzes poēma s.o.:
ilgu tēma ♫ [izsmalcināti pustoņi un lēcieni, flauta u.c.] 0:10
lidojuma t. [trauksmains jamba ritms!] 2:05
pašapliecinājuma t. ♫ [heroika, trompetes, jambs] 3:45
:)
I love this
IMMENSO TANT'E' CHE M'ILLUMINO
This music speaks to the emotions in a powerful but eerie way. In that sense, it reminds me a lot of the cosmic horror in Lovecraft. I think Scriabin would have liked it.
HFS! What an amazing piece of music.
Starting from 17:17 is absolutely bonkers
ilgu tēma [izsmalcināti pustoņi un lēcieni, flauta u.c.] 0:05 0:10
lidojuma t. [trauksmains jamba ritms!] 2:10 2:05
pašapliecinājuma t. [heroika, trompetes, jambs, kvartas augšup] 4:00
브라보!정말 훌륭한 연주,훌륭한 곡이다
Wow I spotted a perfect cadence at 8:40! Did Scriabin have a lapsus? 😂
Is there another one besides this and the final one?
Well u have a good ear
There’s also one at 13:35
The final one is not actually a perfect cadence, is a F7 resolving to C major so it's kind of a plagal cadence
@@juanrivero6432 but look at the bass motion at 17:17. It goes from G (of a dominant ninth) to C and stays there for the rest of the piece. The bass on C should have a C major triad over it, but it has ultra-long appoggiaturas on different chords before landing on the home chord.
This concept is very typical (see for example the ending of Mozart's K.2), but here it's brought to absurd lengths to the point it becomes quite distorted.
@@adlfm Yeah youre right! I thougth you were talking about the cadence at the very end!
(The first time that i heard that last part of the piece i didnt knew what kind of cadence was until i look at the score, so i thougth that you had the same confusion as me)
Disjointed brought me here. Legit cried during that scene.
Fun fact: this work was premiered on the day Messiaen was born.
13:55 totally power unleash
Šílený šílenec!!
Noooo wacho, que final a todo espíritu 🤯🔥🦖
This is the greatest love offering in history, even greater than the shooting of Reagan.
Can't believe that as a neoliberal hater the greatest thing in the world you can imagine is a failed assassination attempt on a US president, truly in need of political creativity in your mind. Time to study and read about communism.
average american analogy
13:27
I am torn between this and Prometheus but my favourite is the black mass sonata :D
I put this quite a bit above Prometheus for its emotional impact, although I agree 9th sonata is incredible.
@@braedonkirkpatrick2143 I agree extase is more emotional however I think this was Scriabins intention as Prometheus and especially works like the 7th sonata are almost totally mystical in mood. You've got good tastes aha .
@@brucedavies8154 Thanks! Dont get me wrong, I still love Prometheus, although for some reason his 7th sonata eludes me. I haven't been listening to scriabin for that long though, so maybe I'll grow into it
Horns and strings look like Mahler works (especially symphony n.10 , Adagio movment).
First time I heard
I would like to see Prometheus with sheet music.
I absolutely would too!
Do another search. This can be found on TH-cam now: one showing the full score, and another a 2-piano reduction.
This is the music we hear when we are in the silence making love to someone we truly want to spend the rest of our life with and are giving of ourselves--and they of themselves--fully and inexhaustibly.
After further review the wiki page for the mystic chord seems to expand our discussion of this alien harmony better than any reference I have found so far. The chord itself implies a Lydian dominant tonality which is the 4th degree of the major/minor scale, this is the first thing that popped in my head but upon reading superimposing different series of tones on the top allowed him to change tonality at will. This says two things to me, first the function of the chord is to disguise the tonality so the melody is free to go in any direction, it is not tied to major or minor, second the tones played on top of the chord imply a series of notes invloving more than seven notes, or mixing scales togather for example whole tone mixed with Lydian or synthetic scales like half whole half whole or half half whole half half whole. Scale theory is only a way of describing the patterns of intervals but in practice I don't think he was thinking about that, I think these strange melodic patterns started to emerge and I think he was just substituting different intervals to keep these melodic patterns interesting and finding a chord that allowed him to explore without being tied to a specific tonal series. I think he was looking for that note that gave it an alien sound, then a few bars later was reaching for something completely different. I think he was also trying to disguise the concept of a defined tonal center.
+scottbos68 I think Scriabin always kept a tonal center, that's why you can see sections were the chord tones are transposed, with the tonic changed as well. I once watched a video of someone discussing Scriabin's 7th piano sonata, well worth the watch because you can see exactly what Scriabin did: th-cam.com/video/99RZv2WHP0M/w-d-xo.html
The mystic chord is basically Lydian dominant voiced in 4ths - the 4th mode of the major minor scale - g minor major is a straight major scale w a minor 3rd so g a b flat c d e F sharp - the 4th degree is the same thing starting on c - c d e F sharp g a b flat - now all you have to do is start on c - skip 2 notes play F sharp skip 2 notes keep going...
Not sure if this thread is still relevant, but you can find a hell of a lot of Lydian and Lydian-dominant harmonies in Scriabin's music, particularly from his middle period, though he used it as early as the Nocturne for the Left Hand Op. 9 No. 2. His harmonic language expanded well beyond that in his late period, so far as including an almost twelve-tone approach to his Five Preludes Op. 74 No. 4.
scottbos68 Yes!
@@olla-vogala4090you must be very musically incapable if you cannot tell the tonal center merely by listening. Though, people still think a half cadence after a secondary dominant is a modulation, so I guess it's not that uncommon to be unable to hear the tonality of scriabin's pieces.
I’m seeing this live in a few months so I’m listening beforehand so that it will be easier to follow. So far I don’t love this - I don’t really get it actually. However, this is only my first time listening. I’m going to keep trying
Musique mystère fin de siècle
The last chord hasn't been held long enough.
Parts that stand out to me:
2:33
8:15 etc
12:19 (cute, almost tranquil, like a baby star being born)
13:35 and on
12:51 horns (imperial, feels like a break in war)
14:49 (like nymphs prancing around the stars)
16:24 - 16:38 sounds like sex
16:49 and on
i would include the climax, but do I really need to?
I would expect this to be the elevator music at the Restaurant at the End of the Universe, if such a thing were ever to exist.
Reminds me a bit of Bruckner.
i have listened to this piece well over 20 times and yet it still makes me wildly uncomfortable.
Reminds me of Wagner a little bit, but stranger.
Spirit,
Winged with the thirst for life,
Is drawn into flight
On the summits of negation.
There, under the rays of its dream,
Emerges a magical world
Of heavenly forms and feelings
Spirit playing.
Spirit desiring.
Spirit creating all with a dream.
Surrenders to the bliss of love.
Amid the rising creations
It dwells in languor,
From the height of inspiration
Calls them to flower.
And drunken with soaring
It is ready to sink into oblivion.
But suddenly . . .
Trembling presentiments
Of dark rhythm
Break rudely into
This enchanted world,
But only for an instant.
With light increase
Of divine will
It dispels
Frightening phantoms.
And it attained
Only desired victory
Over itself.
Spirit playing,
Spirit caressing,
Spirit calling hope of joy
Surrenders to the bliss of love.
Amid the flowers of its creation,
It lingers with a kiss
Over a whole world of titillation
Summons it to ecstasy.
Intoxicating it with beauty
It is transported, it tiptoes,
Dances and whirls;
With a whole range of sensations
It is tormented, wearied.
Ready to sink into oblivion
But again . . .
From mysterious wombs
The spirit confused
A formless host
Of savage terrors
Rises stormily
In menacing waves;
It threatens
All to submerge.
Spirit,
Winged with the thirst for life,
Is drawn into flight
On the summits of negation.
There, under the rays of its dream,
Emerges a magical world
Of heavenly forms and feelings.
Spirit playing,
Spirit suffering,
Spirit creating grief by doubt
Succumbs to love’s torment
Mid the flowers of its creations
It lingers in torment,
With whole earth shakings,
Calls them to death.
Seized with fear,
It is ready to sink into oblivion
But then . . .
Bright presentiments
Of shining rhythms
Awake within it.
Sweet moment!
With rays of hope
Radiant again
It burns for life.
And marvelously attained
Is the power
Of divine will.
It pierces
The dark abysses
With glowing glances,
It shouts with rage
And fury . . .
The battle blazes.
Yawning caverns
Of monster mouths
Flash menacingly
Passionate lightning streaks
Of divine will,
All-conquering;
Radiant reflections
Of magical light
Illuminate the world.
Spirit,
Forgetting the beloved goal,
Drunkenly yields the struggle.
All enraptured,
Fully delighted
With free
Godlike play
The struggle of love.
In the divine loftiness
Of pure aimlessness,
In combining
Opposing desires
In single awareness,
One love.
Spirit learns
Its divine essence.
It knows that
Which desired struggle;
It desires only,
And events
Assembled round
This wish
In harmonious order
Capricious emotion.
Spirit,
Playing, changing
Vibrates the universe
Explaining
Affirming.
Desirous of victories,
It was victorious,
It is triumphant!
And to its beloved realm,
Joyous, it can return now.
But what darkens
The glorious moment?
ALAS!
IT HAS ATTAINED ITS PURPOSE.
It longs for past struggle.
Instantly it feels
Boredom, melancholy and emptiness.
But with thirst of life,
Again it is winged
Is drawn into flight
On the summits of negation.
There, under the rays of its dream
Emerges a magical world
Of heavenly forms and feelings.
And tormented by nothing
It can eternally
Surrender to
Favored dreaming
But why, O rebellious Spirit,
Again is Thy rest perturbed?
No disturbing rhythm
Overshadows Thee,
No dreadful phantoms
Haunt.
Only monotony’s
Infecting poison,
The maggot of satiety
Devours feeling
With sickly cry
The universe resounds:
Something else!
The new!
Wearied of pleasure
Worn with pleasure
But not with life,
Spirit lifts into flight
To the kingdoms of grief and suffering.
And in its free return
To the world of dream and of excitement
It comprehended miraculously
The idea of evil’s
Mysterious abysses.
Again the dark caverns
Gape open
Again the mouths threaten to swallow
Again battle,
The girding of will
The wish to conquer all.
Again victory, again intoxication,
And rapture
And satiety.
With this increasing rhythm
Beats the pulse of stronger life!
O my world, my life,
My blossoming, my ecstasy!
Your moments each by each
I create by negation
Of earlier experience.
I am forever
Negation
Again and
Ever anew!
More powerful
More tender,
New torture,
Fresh beatitude.
Delighting in this dance,
Choking in its vortex.
Unmindful of goals
Beloved aspirations
Spirit surrenders to playful
drunkenness.
On powerful wings
It speeds
Into realms of new discovery
Of Ecstasy.
In this endless change,
In this purposeless, godlike flight
Spirit comprehends itself
By its might of will.
Alone, free
Ever-creating.
All-illuminating
All-lifegiving
Divine play
In multiplicity of forms:
It knows itself
As the palpitation of life,
The wish to burgeon
In the struggle of love.
Spirit playing
Spirit fluttering
By its enduring longing
Creating Ecstasy
Gives itself up to Love’s thrill
Mid the flowers of its creations
It lives in freedom.
“I summon you to life,
Hidden longings!
You, sunken
In the somber depths
Of creative spirit,
You timid embryos
Of life,
To you I bring
Daring!
Now, you are free!
Fragment and flower
Separately
Rise up one against another
Flee to the summits
That in sweetest bliss
You may know all your oneness
Annihilated within me!
Rise up one against another,
Strike against me,
Negate your love!
Turn against me, all people and
elements,
All horrors lift up your heads
Try to destroy me,
Caverns of dragons’ mouths
Serpents twist round me
Constrict me and bite me!
When all rises
Against me,
Then I begin
My
Play.
O waiting world,
Weary world!
You are thirsting to be created
You see the creator.
Your tender sweet sigh,
Calling
Has been wafted to me.
I will come.
Already I dwell in you
O world of mine!
With mysterious delights
Of unknown feelings,
With myriads of dream and vision,
With inspiration’s flame
With Truth seeking,
With the forbidden wish
Of divine freedom.
O my beloved world,
I shall come.
Your dream of me
Is being born
It is I.
Already I am manifest
In mysterious presence
A barely perceptible
Breath of freedom.
Lightly,
A wisp of dream
The wave
Of my being
Has already seized you.
You are quivering already
I am your beloved freedom,
You my beloved world!
I am come
To dazzle you
With the marvel
Of enchantment repeated;
I bring you
The magical shiver
Of scorching love
And unimaginable caresses.
Surrender to me in all faith!
I will drown you in oceans of bliss
And beloved kisses
And great heaving waves
But in our remoteness playing
Only the spray
Envelopes you
And you insanely desire
Something else!
The new!
And then in torrents of flowers
I will lie upon you
With aromas and scents
I will bask languidly
In this play of fragrance
Now tender, now sharp
In the play of touches,
Now soft, now harsh
And sinking into passion
You will
Whisper:
Again and
Ever again!
Then I will plunge
With a horde of fearsome monsters
With savage torment and terror
I will crawl upon you with venomous
nests of snakes
And will bite and choke you!
And you will want me
More madly, more passionately.
Then I will lie upon you
Under rays of celestial suns
And you will burn with the fires
Of my emotion
The holy
Flames of desire
For the sweetest,
The most forbidden,
Most mysterious.
And all of you is a single wave
Of liberty and joy.
Multiplicity has created you.
Legions of feelings
Have elevated you
O pure desires,
I create you,
This complex unity
This feeling of bliss
Seizing you completely.
I am the instant illuminating eternity
I am the affirmation.
I am Ecstasy.”
The universe
Is embraced in flames
Spirit at the summit of its being
Feels
Endless tides
Of divine power
Of free will
Emboldened,
That which menaced
Is now seduction.
That which frightened
Is now pleasure.
And the bites of panther and hyena
Are new caresses
And the serpent’s sting
Is but a burning kiss.
And thus the universe resounds
With a joyful cry
I AM!
5:38
17:06- das große Finale
7:42 🤯
And this is the Black Tapes
would have never found this composer without reading Henry Miller
idk,but people who play piano to the highest level will know Scriabin
Is it me or was there a vocalist in this performance?
It' s an exoteric way to eternity .
12:18 iPhone text message
Sounds like what late Mahler would’ve written
does anyone have the poem Scriabin wrote for the music? I can't find the full poem anywhere
André Teixeira meditate & you will see it. ☺✋
Just look it up, look up “scriabins poem of ecstasy, and look for the poem part. wikioedia might have ut
@@SaccidanandaSadasiva you're delusional
Is this Mahler's 12th??
lol
Mahler has nothing on this.
Me knowing how much of a horndog Scriabin is 😂