in the Spring of 1915 Moscow buried Alexander Nikolaevicha Skryabin, the composer, whose music has split concert public into sharply opposite two camps. One have created around its creativity, its person a cult expressed in a loud applause, gifts of colours, unlimited delights in any occasion connected with his name. Others absolutely did not accept its music, it it as sickened the sound phenomenon, it sickened summaries and comments to it, appearing in concert aaplets, in articles and reviews; with an especial sharpness they reacted to cries "ёъЁ сшэшё=юъ" bringing hysterical notes in concerts where Alexander Nikolaevich acted or where played its music.
And here Moscow says goodbye to the composer who has died ridiculously, tragically, from a furuncle on a lip, at the age of incomplete forty four years. Whether this accident has reconciled both camps? No, has not reconciled. But there was other, immeasurably more important, than acceptance or aversion of this or that sonata, a poem, a prelude. There was a result. Whether there was it definitive and exact? It could not be such in the days adjoining tragical date because the word time has not told. In one, the most important, nobody doubted - Skryabin's huge talent and still that, maybe, the greatest creations are held back by it.
And here, almost the century has passed from the date of death of the composer, with unusual keenness listening to a voice of the present, caught the underground rumble foretelling wreck of the old world...
For five years till the end of a XIX-th century Skryabin has composed twelve etudes. Last, twelfth etude has amazed then contemporaries with fury of energy of sound shaft advancing each other, sharp launches of a strong-willed melody as though not on a grand piano, and on hundred anvils it is shaped and rapped out its courageous, proud to become. And when some years after Bitter have published "¤хёэі about …ѕЁхтхё=эшъх" the sensitive student's youth began to name and Skryabin's Twelfth etude "…ѕЁхтхё=эшъюь" having heard in it the same that in the Gorki: "¤ѕё=і will more strongly burst сѕЁ !".
Now, when behind two thirds of XX-th century when so much events have shaken the world, quite often there is a thought: whether Skryabin was the first musician whom, having absorbed all torn to "эют№ь берегам" aspirations of the past century, feeling approach of a revolutionary thunder-storm, joyfully and painfully realised the sensations in music. Not without reason G.V.Plehanov spoke about it: "¦ѕч№ър it is grandiose scope. This music represents reflexion of our revolutionary epoch in temperament and a world view шфхрышё=р-ьшё=шър".
Alexander Nikolaevich Skryabin was the great artist who has embodied in music those moods of Russian society when its one part followed the Block, Bryusov, Bitter, another - for Vl. Solovevym - the philosopher-mystic, still any part was gave to God-seeking and "ё=юыютхЁёхэш¦". The best part has left in revolution.
Skryabin's Career is combined, as ways of those who in days of reactionary bezvremenja wrote pictures, poems were difficult, novels, symphonies who, created works of art, filled with their truth reflecting the present.
Whatever spoke, wrote about Skryabin, as whatever fashionable directions of music of a boundary XIX and the XX-th centuries ranked it, in the forerunner, what "шчьют" made, Skryabin has passed all way as the romanticist torn from fetters of the ordinary, hating the humdrum of life, directing after dream in a distance: foggy, inaccessible, somewhere - misticheski-mysterious, it is frequent - utopian. But where directed flight of the genius Skryabin, he aspired away from everyday life, afar, up, without knowing, without understanding and without wishing to learn original laws of the life, grasped by the world of the ideas, convinced that they and only they operate the world. From here - Skryabin's idealism.
Skryabin lived in peace the ideas, the images, in own way perceived the validity, without being verified at any authorities, whether there correspond its representations of a reality. This way has led it sollipsizmu.
Acquaintance to George Valentinovichem Plehanovym, conversations lasting many hours with it, disputes, uncountable critical marginal notes of the book "- to a question on development monisticheskogo a sight on шё=юЁш¦" presented to Plehanovym Skryabin, testify that philosophy problems disturbed him that this area of thinking was close to it that in its consciousness music and philosophy filled informed vessels.
But with whatever interest to concern Skryabin's employment by philosophy, it is necessary to understand the main thing from the very beginning: before us - ingenious to the composer the layman in philosophy questions. In Skryabin there lived a constant dissatisfaction with any display of static character, be it the settled traditions or indestructible in the zastylosti theoretical canons.
Already in its youthful products searches of the new ways, the new accords, the refined rhythmics are heard. The range of emotional conditions in its music is extraordinary wide. On one pole - fragility, trepetnost, the timid lyrics, zavualirovannost melodic contours and incompleteness of the harmonious sequences close impressionistic zvukopisi. On other - strong-willed, imperative exclamations, appeals, violent temperament, poletnost, an impact.
Pupil Taneeva on a composition and Zvereva and Safonova on a piano, it lived in days of the artistic youth in atmosphere of adoration of Tchaikovsky. This trace remained in it for a long time - in romantic agitation, in sincerity of emotional statements, in prevalence of light lyrics, and nearby - deep dramatic nature. The big role in Skryabin's formation Chopin music in which all imposed him, but first of all, with what incomparable poetry has played.
In one of Skryabin's first arrivals to Petersburg Caesar Kjui in the playful form has expressed thought that Skryabin has found somewhere the whole chest of the neopublished manuscripts of Chopin. Really, both the letter manner, and the reference to genres of a piano miniature (to preludes, etudes, waltzes, mazourkas), and the absolute preference given by a piano, - make related two great slavic musicians.
In conservatoire years Skryabin's (1888-1892) name has drawn attention not only teachers and associates-students. Skryabin-pianist's each performance, its especial manner piano ispolnitelstva - nervous, impulsive, "яюых=эр " at the same time unusually melodic, especially in slow parts, - grasped any audience. Then, these years, have been written poetichnejshy a fa-minor waltz, some mazourkas, nocturnes. Allegro appassionato - a harbinger perfectly well developed subsequently sonatnogo creativity. This early period comes to the end with the composition of the First sonata. The youth speaks in it fitfully, sincerely - and in ardent pathetics of I part, and in elegicheskoj to grief, in parting music in II, and in the severe, uneasy movement III, without interruption passing in the ending where agitation, vozbuzhdennost are replaced by a tragical gait of a dead march. In something youthful awkwardness is felt, still gradation of treatments of light and shade have not reached that degree of a subtlety which will make one of mature Skryabin's characteristic features. But the First sonata - already music of the big feelings, creative impatience, requirement sincerely to give vent to that has boiled on a shower in sounds.
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