I really admire Scriabin's use of the piano here; it adds a divergent, almost jazzy, edgy component to this very esoteric symphonic work. I feel there are definite streams of influence here from Wagner and Nietzsche, among others, brought into conformity with Scriabin's musical cosmogeny, of aligning ancient deities with definite musical concepts. I thoroughly enjoyed Muti's excellent interpretation and must thank KuhlauDilfeng2 for this wonderful post.
Every time I listen to this magnificent work and in particular this interpretation, I am prey to strange shivers, I can't help it, it's physiological. Fantastic symphonic poem by Alexander Scriabin and wonderful interpretation by the Philadelphia Orchestra conducted by Riccardo Muti with Dmitri Alexeev on the piano. A door wide open to the unconscious, and a catalyst for the imagination.
I was lucky enough to have received the score of Prometheus in New York , however it was in cold war times not allowed. I still have a facsimile of this score in my personal collection. In this piece I found my earlier style of writing which I truly did have. Just an incredible usage of modal structures with the potential of creating new harmonies. Of course the tritone was at the center of his thinking.
Prometheus, The poem of Fire is technically based on a synthetic mode, his transpositions and the relationships between them. This mode is the acoustic scale, also used by Debussy and especially Bartok.The acoustic scale is with F# and Bb in C major. Scriabin has constructed a coherent system using these scales and associated chords. In terms of expression, we can feel the human effort (towards the fire = divinity?) and the desperate conclusion. Scriabin used also color projections with the different chords, which do not appear on RUclips (this would be theoretically possible).
@@Whatismusic123 Look for instance Debussy the four horn theme at the beginning of the section just afyrt inroduction in the first movement of 'La Mer" (acustic scale scale o, Db or the pinao prelude "Ondine' 'scale on Dà. Rhis scale was the prime material of diatonism in Bartok's work. Read for instance Ernö Lendvai analysis. You can find it quite cleraly at the very beginning of the third movement (on C, xylophon) of the sonata for 2 painos, celesta & percussion, or all along the first movement of the fourth string quartet.
Scriabin was fond of mysticism, which was v a very common attitude at the turn of the XIXth and XXth century; hence this 'Preometheus, the poem of fire'. What is lees known is that, at that time, he associated his mystical conviictions with strict musical concepts. All this score is built with only one scale and the affionities between its transpositions, which paved the way to easy modulations. This sclae is the so-called "acoustic" or 'Bartók" scalme: for instance in C major, we have a F# and a B (flattened). This sclae is very comonly used by Bartok when he wants to express himself thoufh a diatonic idiom (thence its name), but it had previoulsy been used by Debussy (for instance the horns at the beginning or 'The sea" - the scale is on d falt, or "Ondine" in the second prelude book ((the scale is on D). Scriabin mainsly wrote piano music, but his writing for large orchestra is perfect; In the orchestra, the woods are by 4, we have 5 trumpets and 8 horns.
Поэмы А.Скрябина слушать надо сердцем Ито не с первого раза услышиш волшебство композитора Браво маэстро на века - сочинения сокровище Русской культуры!
@@baileyrob could be a spot on interpretation, but I was wondering about it since actually the whole piece is quite dissonant, while the last chord is exactly the only which is major and consonant ahah so idk, maybe the continued dissonance brought you to reverse you perception of consonance and dissonance (?)
@@xv12commander Very possible. Although I do hear the consonance too, as well as the dissonance. That's the horrifying thing about it. I think it's about the texture too, with the voices. It feels like a harmonic apotheosis. Which, of course, it is. But knowing harmonic apotheoses and hearing them are two very different emotional concepts. You can feel as though the rug is being ripped from under you, just as well as you can watch it and analyse its passing.
@@xv12commander And I think the very nature of human harmonic hearing is the very basis of harmonic perception. So perhaps it is not a reversal, but a masterful aural tuning. The first time I heard that final chord, it didn't exactly sound like the most dissonant chord in the entire piece, but its dissonance was magnified by both its texture, its structural significance, no doubt, but also that it sort of 'sums up' the entire piece of music in a single phantasmal moment. Almost like it is bringing an end to life. Like it is apocalyptic, and like all apocalypses, brings renewal.
On dirait un conte pour enfant, un peu tragique-un peu magique, une pluie des fleurs des papillons un portail qu'on traverse de la pub de la lumière, des guerres d'autres civilsations de la pub encore des êtres a différents stade du spectre un éclat un absence encore de la pub
I really admire Scriabin's use of the piano here; it adds a divergent, almost jazzy, edgy component to this very esoteric symphonic work. I feel there are definite streams of influence here from Wagner and Nietzsche, among others, brought into conformity with Scriabin's musical cosmogeny, of aligning ancient deities with definite musical concepts. I thoroughly enjoyed Muti's excellent interpretation and must thank KuhlauDilfeng2 for this wonderful post.
Every time I listen to this magnificent work and in particular this interpretation, I am prey to strange shivers, I can't help it, it's physiological. Fantastic symphonic poem by Alexander Scriabin and wonderful interpretation by the Philadelphia Orchestra conducted by Riccardo Muti with Dmitri Alexeev on the piano. A door wide open to the unconscious, and a catalyst for the imagination.
I was lucky enough to have received the score of Prometheus in New York , however it was in cold war times not allowed. I still have a facsimile of this score in my personal collection. In this piece I found my earlier style of writing which I truly did have. Just an incredible usage of modal structures with the potential of creating new harmonies. Of course the tritone was at the center of his thinking.
amazing music! My favourite Scriabin. Nice picture! thanks a lot!
The picture is very nice, but does not evoke "fire", don't you think?
Prometheus, The poem of Fire is technically based on a synthetic mode, his transpositions and the relationships between them. This mode is the acoustic scale, also used by Debussy and especially Bartok.The acoustic scale is with F# and Bb in C major. Scriabin has constructed a coherent system using these scales and associated chords. In terms of expression, we can feel the human effort (towards the fire = divinity?) and the desperate conclusion. Scriabin used also color projections with the different chords, which do not appear on RUclips (this would be theoretically possible).
@@Whatismusic123 Look for instance Debussy the four horn theme at the beginning of the section just afyrt inroduction in the first movement of 'La Mer" (acustic scale scale o, Db or the pinao prelude "Ondine' 'scale on Dà. Rhis scale was the prime material of diatonism in Bartok's work. Read for instance Ernö Lendvai analysis. You can find it quite cleraly at the very beginning of the third movement (on C, xylophon) of the sonata for 2 painos, celesta & percussion, or all along the first movement of the fourth string quartet.
Scriabin was fond of mysticism, which was v a very common attitude at the turn of the XIXth and XXth century; hence this 'Preometheus, the poem of fire'. What is lees known is that, at that time, he associated his mystical conviictions with strict musical concepts. All this score is built with only one scale and the affionities between its transpositions, which paved the way to easy modulations. This sclae is the so-called "acoustic" or 'Bartók" scalme: for instance in C major, we have a F# and a B (flattened). This sclae is very comonly used by Bartok when he wants to express himself thoufh a diatonic idiom (thence its name), but it had previoulsy been used by Debussy (for instance the horns at the beginning or 'The sea" - the scale is on d falt, or "Ondine" in the second prelude book ((the scale is on D). Scriabin mainsly wrote piano music, but his writing for large orchestra is perfect; In the orchestra, the woods are by 4, we have 5 trumpets and 8 horns.
No accident it ends with F# major chord. The chord of fire. 🔥 as I also see it.
Поэмы А.Скрябина слушать надо сердцем Ито не с первого раза услышиш волшебство композитора Браво маэстро на века - сочинения сокровище Русской культуры!
That ending left me profoundly frightened... I was in aural bliss throughout, but then that final chord... Mortally terrifying!
Why?
@@xv12commander That's just how I felt. Never heard anything like it. Horribly dissonant yet divinely beautiful. Like the wrath of god.
@@baileyrob could be a spot on interpretation, but I was wondering about it since actually the whole piece is quite dissonant, while the last chord is exactly the only which is major and consonant ahah so idk, maybe the continued dissonance brought you to reverse you perception of consonance and dissonance (?)
@@xv12commander Very possible. Although I do hear the consonance too, as well as the dissonance. That's the horrifying thing about it. I think it's about the texture too, with the voices. It feels like a harmonic apotheosis. Which, of course, it is. But knowing harmonic apotheoses and hearing them are two very different emotional concepts. You can feel as though the rug is being ripped from under you, just as well as you can watch it and analyse its passing.
@@xv12commander And I think the very nature of human harmonic hearing is the very basis of harmonic perception. So perhaps it is not a reversal, but a masterful aural tuning. The first time I heard that final chord, it didn't exactly sound like the most dissonant chord in the entire piece, but its dissonance was magnified by both its texture, its structural significance, no doubt, but also that it sort of 'sums up' the entire piece of music in a single phantasmal moment. Almost like it is bringing an end to life. Like it is apocalyptic, and like all apocalypses, brings renewal.
Lied ist sehr schon. Danke!
and is GREAT!!!!
On dirait un conte pour enfant, un peu tragique-un peu magique, une pluie des fleurs des papillons un portail qu'on traverse de la pub de la lumière, des guerres d'autres civilsations de la pub encore des êtres a différents stade du spectre un éclat un absence encore de la pub
Installe un bloqueur de pub : Adblock par exemple...