It is reversible to the major section of the creative biography of Skryabin, to its symphonic music.
After a number of the student's experiences, the Piano concert (1897) was the first composition of a symphonic genre. The spiritualised romantic music it is thin the treated piano party appreciably resists to the sounding of an orchestra less interesting, less bright. Nevertheless purely musical advantages of the Concert so are high that it has entered into constant repertoire.
Skryabin tries the forces in purely symphonic field approximately in a year. Then (1898) also there is a small orchestral play "¦хё=№" spiritualised by the lyrical freshness, involving with the youthful, spring charm. The first symphony is almost symbolically dated 1900, just born new century. It amazes first of all with the scales. In it six parts though usually symphonic cycle consists of four. Interesting thought states JU. V.Keldysh, considering I and VI parts "ъръ expanded till the sizes of independent parts the introduction and to a code-epilog". In this case the classical structure with traditional sequence of parts is as though observed. Skryabin's first monumental creation as a whole, is not free from the fetters imposed by creative inexperience. But music of each of average four parts sounds on-skrjabinski oduhotvorenno. The high emotional tone with the angry culminations rivets attention in the first of them; The following part on mood is close "¦хё=рь"; music of IV part - it is typical skrjabinskaja: easy, prompt, carried away up; and again the raised, passionate heat of emotions which are making related a penultimate part of the symphony with II comes back. In the ending (VI part) Skryabin has addressed to chorus verses for which has composed itself. Its poetic experiences never, as well as in this case, did not reach high level. But the thought put in them is majestic, for it is a question of an art role in a life:
In that gloomy and cold hour,
When the soul is full smjatenja,
The person finds in you
Live pleasure uteshenja.
Invocatory, as a fanfare, last lines sound:
Come all nations of the world,
To art of glory we will sing!
The Thought on special mission of art, on its ethical nature, born in days of meditations over the First symphony, passes through Skryabin's many products.
The Dramaturgic centre of the Second symphony (1902) consisting of five parts - III part coming after sad zapeva I and strong-willed, passionate pressure II. In it Skryabin sings of the night nature, ecstasy, pleasure of life. Muster of flutes, pathetic solo violins give rise to almost tangible images of the night nature. Block verses are recollected:
Heart knows that the visitor desired
There will be I in solovinom to a garden...
In the following part the magnificent and majestic picture associating with a thunder-storm is given. From peals, accruing leaving, there is the proud, confident theme of the ending constructed on intonations of I part of the symphony. The triumphing mid-flight gait finishes all product.
The Third symphony (1904) Skryabin named the Divine poem. He has refused multiprivate constructions and has embodied the idea in a three-private design, having defined each part the name: "…юЁіср" "-рёырцфхэшх" and "…юцхё=тхээр игра". These names of parts of the symphony define, according to Skryabin, "...Ітюы¦чш¦ the human consciousness which have been torn off from last beliefs and secrets which it overcomes and overturns, the past through panteizm to the joyful and made dizzy statement of freedom and unity тёхыхээющ".
As it quite often happens at Skryabin, the manner of a verbal explanation of music can appear more difficult, than music. The struggling and winning person, derznovennyj, fearless, - such hero constantly attracts Skryabin. In the Third symphony, one of its brightest creations, with the greatest conviction steps of liberation of the person, the person, through struggle, merges to the nature - to full freedom are shown. "…юцхё=тхээр яюІьр" - the first large product, which prime minister has taken place abroad, in Paris. Arthur Nikish conducted. So Alexander Nikolaevicha's five years' stay abroad (1904-1909) has begun.
The Life in Moscow did not satisfy it. The academic system of a conservatoire life concerned not only its pedagogical work. Its persistent aspiration to new, novel open spaces of creativity, complexity of creative concepts, complexity of their formulations, searches and finds of new expressive means in the field of harmony, arrival to unusual type of the melodies which are not keeping within the habitual scheme if found support, in narrow enough circle of musicians and that part of public which already understood scales, greatness skrjabinskogo talent. The death of Mitrofana Petrovicha Beljaeva (1903) has deprived of Skryabin of the devoted friend, the adviser, has worsened and without that a difficult financial position.
A Year later, thanks to support metsenatki Morozovoj, Skryabin has left abroad and veins that in Switzerland, in Italy, in France. It is the period of its frequent concert performances in the countries of Europe and behind ocean... In 1906 it gets acquainted with G.V.Plehanovym. It is easy to imagine that their meetings had unusually interesting character for met ubezhdennejshy an idealist, by then - the mystic, and the first propagandist of Marxism in Russia. At this particular time Skryabin is occupied by work on an ecstasy Poem.
To Conduct about revolution in Russia it accepts with emotion, watches under newspapers succession of events, internally is going to reflect them in music. We find in R.M.Plehanovoj's memoirs many the interesting data. "... Alexander Nikolaevich who for a long time already has left Russia and all shipped in new pieces of music; with a great interest watched heroic revolutionary struggle, feeling for the sympathy Ёхтюы¦чшюэхЁрь". And further, speaking about the Poem of ecstasy, R.M.Plehanova writes: " Alexander Nikolaevich has told to us that this music is cast by revolution, its ideals for which Russian people and consequently an epigraph of a poem he has decided to take an appeal „struggle now Rise, podymajsja, the worker эрЁюф"". Knowing an ecstasy Poem, we understand, how is striking neshozhe its maintenance with the slogan taken from a refrain "ррсюёхщ ьрЁёхыіхч№". But pathos of struggle, overthrow, aspiration on will so it is dazzling brightly sounding in music, probably, have reflected atmosphere and dynamics of a revolutionary epoch.
The ecstasy Poem in the most concentrated kind generalises Skryabin's creative dreams of many years in the form of the one-private symphony. The way to the strong-willed, ecstatic statement of the person begins with weak-willed, weakened "=хь№ =юьыхэш " and arising after it "=хь№ ьхё=№". For the first time energy, dynamics are pulled out from a circle of contemplate conditions in "=хьх яюых=р" rising up and involving in movement shipped in a sleepiness and prostration of force. Music receives a new impulse, when copper tools enter with "=хьющ яЁю=хё=р" and "=хьющ тюыш" preparing occurrence of the most important theme, "=хь№ ёрьюѕ=тхЁцфхэш " which, having passed numerous phases of development, will reach in the ending sparkling sonority "Іъё=рчр". In the Poem of ecstasy dynamics rises and falls down the waves as though adjusted "=хьющ тревоги" with its convulsive, faltering rhythm. But from a crest to a crest of dynamic waves music anywhere does not find stability. It arises only in last steps, in the exulting, solar sounding finishing this great product. It is possible to tell with confidence that in modern Skryabin to music cannot find any product which could be compared on brightness optimistic zhizneutverzhdenija with "¦ъё=рчюь" the creation turned to the future and in this sense - prophetical.
After the Poem of ecstasy Skryabin creates the last complete product for an orchestra - fire Poem, or "¤Ёюьх=хщ" (1909). Skryabin devotes an ecstatic ode to the hero who has reached of power of will and self-affirmation, ventured a feat unprecedented derznovennyj - fire abduction. But this feat is made by Prometeem not for the sake of valour, and for the sake of happiness of the people who have received fire, and together with it and force of reason and knowledge. Highly appreciating the hero of an ancient myth, Marx wrote: "¤Ёюьх=хщ - the most noble sacred and the martyr in philosophical ърыхэфрЁх".
According to Skryabin, music "¤Ёюьх=х " develops of set of separate themes, like themes in "¦ъё=рчх" having independent figurative value. But in the course of direct hearing of music to catch them it is almost impossible: sound files of a huge saturation stun with power of an orchestra to which except a the soloist piano and body the chorus singing without words is added. Besides, Skryabin has decided to influence an audience besides music also light, specially having designated in the score the moments of the introduction, change of intensity of illumination of a hall by different colours. The idea of abduction of fire reaches in "¤Ёюьх=хх" "ьр=хЁшрышчрчшш" as the first experience of creation "ётх=юьѕч№ъш" today widely adopted.
The Career is finished. Its last stage - the most difficult as though it lies through rocks and kruchi to the top which has been lighted up by fire of Prometeja. In last piano poems, in five preludes finishing searches in this genre, in two dances - "+шЁы эф№" and "Кхьэюх яырь " - Skryabin speaks language to the most difficult, music sounds frenziedly, in atmosphere of reintense emotions.
...zhizn Skryabin has broken on 44th year when the great dreamer threw the first contours of the plan "¦шё=хЁшш" the product calculated on grandiose performing structure, addressed tens thousand listeners and having the purpose to turn the course of history, make a life happy for all people. In this plan aspirations of the humanist and foggy predictions teosofov, will of the person, service selflessly betrayed to idea to mankind, and feebleness of an idealist in the face of a vital, social reality were weaved. Passionately dreaming of a world reorganisation, Skryabin could give to a great cause only what owned that in its representation was mogushchestvennejshim the weapon, - the music.
Skryabin has died in April, 1915. Live it two more and a half a year, it would be the witness of October.
On July, 30th, 1918 Vladimir Ilich Lenin has signed the decree about a construction of monuments to the most outstanding art workers and arts. Among them there was also Alexander Nikolaevicha Skryabin's name.
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