Scriabin write about his aesthetic and style for vers la flamme and Term Paper

Scriabin write about his aesthetic and style for vers la flamme and numbers of fire - Term Paper ExampleAlthough he had small hands, Scriabin became a recognized pianist he was so fascinated with piano and even cease up damaging his hands at one point because of practicing pieces, which were meant for greater hand spans than his. Scriabin was interested in both Nietzsches ubermensch theory and theosophy and this played a great role not only in his musical thoughts but also in his music. He also gained interest in Delvilles Theosophist movement when he lived in Brussels between 1909 and 1910. Scriabin is believed to be the one great pioneer of the new music of a reborn Western civilization, the father of the future musician, (Garzia 277). horse parsley Scriabin wrote his poem, Vers la flame (piece 71), towards the end of his life. The piece has truly simple melody mainly made up of descending half steps. However an intense, fiery brightness is achieved by the use of remarkable ha rmonies and complex tremolos. For this reason the piece is considered a poem and not a sonata (Tatarkiewicz 13). Although the piece was meant to be Scriabins eleventh sonata, he was forced to publish it much earlier due to financial reasons. Impression when Performed with Accompaniments Scriabins compositions in Vers La Flamme, like his other works, tend to be very unique owing to the artists special attention to accompaniments and instruments in the course of his composition. Many of the occasions, symphonists often reflect special emphasis and attention on the symphonic bit of the music as compared to the instrument, in order that it is not dominated by the instrument. On the other hand, Scriabins Vers La Flamme and Poem of good time are largely influenced by the composers fascination with piano, reflecting more of his piano thinking and still leave a good sense of balance between the instrument and the symphony. According to Leonid Sabaneev (32), Scriabin had designed the sympho nies such that they turned out to be so clear and impressive when performed on the piano. He states The impression was unforgettable, and it sounded much let on than with an orchestra.(Sabaneev 32). Thus, these symphonies have been described as having been written and best meant for a piano solo by Scriabin when he was doing the composition (Bowers 335). According to Vladimir Horowitz, a prominent pianist, Vers la flame was inspired by Scriabins unconventional belief that the creative activity would be destroyed by accumulation of heat. The title itself, coupled with the emotional flush throughout the poem points to the sizzling destruction of the earth. As already pointed out, Scriabin was interested in both Nietzsches ubermensch theory and theosophy and this played a great part not only in his musical thoughts but also in his music. Vers la flame therefore expresses and reflects Scriabins intensifying and deep philosophical convictions, peculiarly as at the time that the symph ony was being composed. Macdonald thus comments that he (Scriabin) later saw every composition as the expression of his mental world and attached much importance to the meaning, whether mystical, philosophical, or fantastic, of each piece (33). The incorporation of philosophical aspects, intense, fiery luminance achieved by the use of remarkable harmonies and complex tremolos in the poem lends it a high degree of aesthetic appeal and makes the