To the middle of 90th years Skryabin finishes the 11th opus including 24 preludes. Here when the huge talent of the musician-poet irreproachably owning difficult art of a tool miniature to the full affects. In preludes of 11th opus the images anticipating to the lyric poet of Alexander Bloka are born. Skryabin enters us into the world where the most thin movements of human soul where on change to the dialogue sated with dramatic nature the landscape flickering by constellations where the faltering, untold recognition gives way to a passionate monologue comes reign...
The Same circle of images and states of mind fills music of 12 etudes (an opus 8). It is full of emotional launches, sincere conflicts, angry, indignant exclamations. Preludes and etudes of two these opuses began the first to enter into concert repertoire, in a musical life of the end of century. About their author have started talking. Small growth, fragile addition, gusty, very nervous, it submitted any original charm in which the uncommon person was felt. In one of arrivals to Petersburg Skryabin "яюърч№трыё " to the Petersburg musicians led by Roman-korsakovym. It is easy to imagine, as the composer, "ьшьючэ№щ ¦эю°р" worried; as it tenderly named relatives. Not inclined to the compliments, known for frankness and severity of judgements, Roman-korsakov in the "-х=юяшёш" has expressed Skryabin as about "тчю°хф°хщ in Moscow to a star of the first тхышёшэ№".
Soon Skryabin has got acquainted with the person who could play a considerable role both his lives, and in propagation of its creativity. Mitrofan Petrovich Beljaev was it. The Lesopromyshlennik-millionaire, months living that in wood thickets of the Arkhangelsk edge in London where alloyed front and a mast timber, - Mitrofan Petrovich was the passionate fan of music. Nature active, resolute, it has given a lot of energy to business of propagation of Russian music; has organised excellently put publishing house; has established awards for the best compositions of Russian composers; having become friends with Roman-korsakovym, Glazunov, Ljadovym, it became soul of the circle which head was Roman-korsakov; Beljaev has entered into use so-called " general Ёхях=шчшш" symphony concerts to which the public willingly visiting them was invited. The person with a sharp-sighted sight in art, it has noticed Skryabin and has decided to take over it guardianship. The vigorous help of Beljaeva as the impresario and the publisher was as it is impossible more by the way. In 1896 Skryabin with the new friend makes a concert trip across Germany, Holland, France, Belgium. Such tours in the history of Russian music - the phenomenon rare. The success at public and at the press everywhere was big. Especially hotly accepted Skryabin in Paris. It acted only with the products, so clearly speaking and about its talent, and about the new sound searches which have grasped the most part of public. However, and then already other part shrugged shoulders, was perplexed. Possibly, her confused also unusual, though also clear enough harmonious language, and an originality of the emotional world of the composer.
So the name dvadtsatichetyrehletnego Skryabin has appeared on posters of the several European countries.
Skryabin's Talent reached manhood. By the end of 90th years the Second and Third sonatas are published, marking itself the important stage of its creative evolution, arrival to the large form. Already in the Second sonata (1897) named the author "Рюэр=ющ-¶рэ=рчшхщ" before us the composer who is able, like classics sonatnoj forms to concentrate idea of product in extremely compressed theme. Such in "Рюэр=х-¶рэ=рчшш" two-piece, there is a theme "яЁшч№тр". And after it the sound panorama of sea elements is developed. To it, tender, murmuring at coastal sand, in fury of a raising wave, scattered in millions splashes softly waving in lunar silver, also Skryabin devotes the music.
Since the Second sonata Skryabin gives the grounds to speak about programmnosti this genre in its creativity. If music "Рюэр=№-¶рэ=рчшш" associates with sea pictures in several subsequent sonatas the author addresses to a greater or lesser extent to the help of a word.
So, (1897) the detailed text introduction entitled "Рюё=ю эш фѕ°ш" is premised the Third sonata;. To I parts "фѕ°р rushes... In abyss of suffering and сюЁіс№"; in II - through "сыр gouhanie harmonies... Appears through ushcherblennaja and uneasy фѕ°р"; in III - dominate "ы¦сюті, grief, vague desires, inexpressible ь№ёыш"; in the ending - "яюсхфэюх singing sounds =юЁцхё=тѕ¦Ёх". What such program, naive, not reaching and bottom of wonderful music can give to listeners? Whether it if music itself so is extremely expressive is necessary?
In a two-private Fourth sonata (1903) - one of masterpieces skrjabinskogo creativity - words are premised music of I part: "- a fog soft and transparent, in the distance mislaid, but the clear star flickers light эхцэ№ь". And in II part the star image is kept: "Ї to you, a star wonderful, I direct the яюых=!" Echoes panteisticheskoj enthusiasms are heard and in sea landscapes of the Second sonata, in solar, dionisijskoj pleasures of the Seventh, in aspiration to merge with the Nature and Space - in the Tenth, ekstatichnostju music of the Fifth sonata is filled.
The World where Skryabin is carried away in the sonatas, - the world of prompt launches, dreams, strong-willed appeals; the world in which action, instead of a condition prevails. In this world - from makrokosma the Universe to mikrokosma lonely human soul storms storm, in it there is no rest, but this world is lighted up by the sun or soft light of flickering stars. Only the penultimate, Ninth sonata, rolls in a gloom, lighting up ominous spolohami approaching accident.
Sonatas are adjoined by piano poems, the genre which has had development in creativity of Skryabin. All of them odnochastny, and everyone develops one any image, a condition. Sometimes Skryabin concretises character of product: the Tragical poem (1903), the Poem of languor (1907), the Poem-nocturne (1912), a poem "- яырьхэш" (1914), two poems: "¦рёър" and "Р=Ёрээюё=і". Being intermediate between a piano miniature and a sonata-poem are treated by Skryabin in the free form giving open space and performing imagination. A designation "яюІьр" it applied and to large, sometimes and to multiprivate orchestral products: an ecstasy Poem, fire Poem "¤Ёюьх=хщ" "…юцхё=тхээр яюІьр" - the Third symphony.
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