Alexander Scriabin (1872–1915) was a Russian composer and pianist. His entire life was guided, through his compositions, by a quest for the mysteries of the universe: reconnection with the cosmos, ecstasy, and a transcendent state of existence. Building upon the Romantic heritage, he gradually distanced his music from his early model Frederic Chopin to develop a completely unique and revolutionary musical language. As a virtuosic pianist, thinker, and poet, Scriabin’s handwritten notes and catalogue of works offer a compelling view of individual artistic growth, as the opus numbers reveal a constantly evolving aesthetic. His output is generally divided into three large periods:

Early (WoO 1 / Op.1 - Op.28 )

A late romantic style in a direct stylistic continuation of Chopin, with already glimpses of individual features (fanfare leitmotif, unrestrained climax, Russian folk sonorities). This early style additionaly echoes to early Rachmaninoff, Blumenfeld, the middle-period of Debussy and Lyadov. The defining characteristics are lyrical and chromatic melodies, singing counterpoint, sudden energetic impulses, a reach for intense climax, and an appeal for lowered-fifth or augmented-fifth dominant chords.

Middle (Op.29 - Op.56)

Post-romantic and almost modernistic style that shares similarities with Chopin but grandly extended, and echoes other post-romantic composers (Debussy, Wagner, Rachmaninoff). Defining features are blurred tonal functions through long appogiatura and pedals, ultra-chromaticism, unconventional voicing (in 4th of 6th), invention of new forms or extension of old one (Poems, Quasi-Waltz, 30 seconds etudes), extented harmonies up to the 13th, sense of longing, sensuality, spiritual subjects and philosophy (soul awakening) .

Late (Op.57 - Op.74)

A fully modernistic and singular style, occasionally recalling late Debussy, Prokofiev, Schoenberg, or Berg. The individualistic philosophy of Scriabin and dark sonorities of the late period can define him in music history as a pre-expressionist. Defining caracteristics include new harmonic systems out of traditional tonality (octophonic scales, Mystic Chords, whole-tone modes), one-movement sonatas, extreme pianistic writing (multiple polyphonic lines, wide ranges, abstract polyrhythms), ambiguous or unresolved endings, transcendental themes (apocalypse, cosmos, unknowable forces).

Scriabin’s music is vast and deeply varied, offering the listener a full spectrum of emotional states from pure horror to total bliss : a magical portrait of our hidden layers.

“If I offer to the world a single fragment of my benediction, it shall exult for centuries!” (Scriabin)