I really hope, that younger music-lovers will open their ears to Scriabins wonderful symphonic music; to me it happened tooo late, but today I can say: I'm very happy to have "met" Scriabin!
Sad perhaps, that the 2 named orchestral pieces have 'overshadowed' the symphonies. Let's hope we can change that, let's suggest our local orchestras should perform them, and at the Proms...
This impressive last symphony of Scriabin still belongs to his second period, in which he had kept a firm link with tonality whuile pushing it to its extreme limits. It is a marvellous work, suggesting with Prometheus what its "Mystery" could have been if death had not interrupted its initial conception. At that time, he used decatonic scales, and it is not impossible that the Mystery should have raised in scriabinian terms the twelve tones music. Anyway, Scriabin left us three magnificent symphonies - and a dream.
You start from the principle that twelve-tone music is a historical necessity and that "progress" must have led to it. That, in turn, depends on historicistic notions that have long since been rejected by decent philosophy and history. Scriabin's work is great because it's great, not because it can, in a dim light with a squint, be read as tending towards atonality.
@@fabiopaolobarbieri2286 There is no necessiities in aesthetics. There is onl general trend, which may be in contradiction with the works of oautstanding composers. For instancce,the case of Debussy is complex. On one hand, he tends to use more and more "far range " extra notes, but at he same timehe takes cares not to se qute dense if not saturated scales. He seems also to be more distant from tonality, but this is flase: simply, tonality controls the work from an upper level. I the 20's, Alois Haba made efforts to use quarter tones in a ratonal way, but this effort as rather anecdotic up to the use of microintervals in the 50-60's. And anyway, I fully agree with your basic tratment; the density of scals used is just a tool and has no sigbificance upon an aesthetic evaluation.
Imaginer une belle symphonie est à la fois une mort et une naissance. Les sons contenus dans celle-ci atteignent la fin de leur vie. Pourtant elle existe dans un état d'énergie potentielle permanente, tout comme la mémoire d'une âme décédée aura toujours le pouvoir de nous émouvoir 😽
I can't get over how beautiful the 2nd movement ("Voluptes") is. I did not realize until just now (looking at the score) how elaborate the use of bird song (or birdlike figuration) is in the latter half of the movement.
Ive known about Scriabin for years, but I'm finally taking the time to dive into his works.. WOW! Such intoxicating music. Why cant there be more 13 chords and polytonality in radio music!?!?!?
Radio music speaks another language, which isn't that ugly after all. But Scriabin speaks his own language through the "Mystic chord" and I just love this language.
Got to know this piece aged 17 when I was gifted a Soviet Lp,conducter was Konstantin Ivanov.Moscow philharmonic [from memory-unfortunately I'm not a Russian speaker & needed a friend to translate the cyrillic].Now aged 60 & Scriabin has not dimmed in interest.Died too young & in the wrong historical period-in another context his work would have been the foundation of an entire school of music composition.
I don't understand why Scriabin's symphonies tend to be overlooked. They are just as beautiful as Tchaikovsky's or Rachmaninov's, and way ahead of his time.
I might be wrong about this, but to me the problem is this music really influenced film composers (of the 50’s?) which are now quite dated to modern audiences, melodramatic and sentimental..I’d have hated this symphony ten years ago, I;d have thought it had no substance. But when I see his remarkable influence, and hear the extraordinary creativity and vision, I can get over the fact that it sounds just like film music I have absolutely no interest in
And I am also aware that Scriabin was far beyond a late romantic composer. He was a pioneer of musical modernism, just because he didn’t invent a new system of composition doesn’t mean he wasn’t a modernist. Just listen to the full version of Mysterium to really get an idea of how far this went, and it was far beyond conventional tonality into something genuinely mystical and profound.
@@MagnanimousDominion Far beyond tonality in itself. In the Mysterium you can clearly hear how his chordal approach to melody as horizontal harmony is in fact precisely what Liszt had defined as 'omnitonique'
Personal timestamps: 0:00 Chủ đề mở đầu Chương 1 1:16 Chủ đề 1 5:00 Chủ đề Kết Chương 2 24:06 Chủ đề 1 Chương 3 36:55 Chủ đề 1 38:23 Chủ đề 2 44:24 Chủ đề Kết
I was not particularly impressed with this symphony until I heard it in a live performance in Hamburg in the 1990s. And the conductor was...Evgeny Svetlanov. I think he brought his orchestra along.
I moved/discovered Joseph Marx after Scriabin. The Herbstsymphonie is fantastic for highly complex melodies/orchestration etc. Scriabin is hard to beat though.
Что тут скажешь? Если бы надо было изложить тантру и кундалини-йогу, то, на мой взгляд, лучших средств для этого, чем поэма экстаза и божественная поэма скрябина, просто не существует. А исполнение Светланова и оркестра Усср- это просто единый титанический порыв, это божественно мощнейший труд для искусства. Я бесконечно благодарен за этот шедевр!
Thanks for posting this - glad to see it here. Back in the 1970s I had a wonderful L.P. recording of this symphony by the U.S.S.R. Symphony Orchestra, conducted by Yevgeny Svetlanov - but I haven't heard it for years now, and have nothing to play it with. Is this the very same recording of it - or did Svetlanov do it more than once?
Scriabin isn't a genius, the term "genius" expresses too little of his music and philosophy. If I may refer to his own piece, he is a "Man-God" with a free spirit and thinking.
But you still have to admit he had a bit of an advantage with his synesthesia which gave him a direct way of knowing how each sound made the heart feel so to speak He also was very narcissistic tbh
One of the best symphonies of all time!
Wonderful music and the ending is sublime heavenly.. GOD BLESS SCRIABIN IN THE HEAVEN I LOVE SCRIABIN
I really hope, that younger music-lovers will open their ears to Scriabins wonderful symphonic music; to me it happened tooo late, but today I can say: I'm very happy to have "met" Scriabin!
I also feel very lucky having explored Scriabin with 18 years. And I hope I have a lot more rich music to listen to
But I have to say one thing, his music is very complex, usually I have to listen to his pieces more than one time to enjoy them
Sad perhaps, that the 2 named orchestral pieces have 'overshadowed' the symphonies. Let's hope we can change that, let's suggest our local orchestras should perform them, and at the Proms...
@Miles Swaminathan WOW, hope you enjoy it!
@@danielfeygin1216 I totally agree, It´s vital to discern all the beauty and magnificence of his compositions.
The harmonies in this piece are just unbelievably beautiful!
Glorious symphony from a divine composer sadly taken from us too soon
43... 🥺😩
Not too soon. Just not to be forgotten, just to became Stalin’s composer number first
@@zvezdinki7998 Seriously he was Stalin's first composer? Where did you read that?
@@danielfeygin1216 Stalin celebrities his death at 1940, 35 years. And Putin doesn’t even 100 years matter...
@@zvezdinki7998 Early soviet was obsessed with Scriabin. But then he has faded away.
This impressive last symphony of Scriabin still belongs to his second period, in which he had kept a firm link with tonality whuile pushing it to its extreme limits. It is a marvellous work, suggesting with Prometheus what its "Mystery" could have been if death had not interrupted its initial conception. At that time, he used decatonic scales, and it is not impossible that the Mystery should have raised in scriabinian terms the twelve tones music. Anyway, Scriabin left us three magnificent symphonies - and a dream.
Wouldn't you say that Ecstasy and Prometheus would quality as symphonies just as much as Scriabin's late sonatas qualify as sonatas?
@@SpaghettiToaster I would say that, but that's just me.
You start from the principle that twelve-tone music is a historical necessity and that "progress" must have led to it. That, in turn, depends on historicistic notions that have long since been rejected by decent philosophy and history. Scriabin's work is great because it's great, not because it can, in a dim light with a squint, be read as tending towards atonality.
@@fabiopaolobarbieri2286 There is no necessiities in aesthetics. There is onl general trend, which may be in contradiction with the works of oautstanding composers. For instancce,the case of Debussy is complex. On one hand, he tends to use more and more "far range " extra notes, but at he same timehe takes cares not to se qute dense if not saturated scales. He seems also to be more distant from tonality, but this is flase: simply, tonality controls the work from an upper level. I the 20's, Alois Haba made efforts to use quarter tones in a ratonal way, but this effort as rather anecdotic up to the use of microintervals in the 50-60's. And anyway, I fully agree with your basic tratment; the density of scals used is just a tool and has no sigbificance upon an aesthetic evaluation.
Imaginer une belle symphonie est à la fois une mort et une naissance. Les sons contenus dans celle-ci atteignent la fin de leur vie. Pourtant elle existe dans un état d'énergie potentielle permanente, tout comme la mémoire d'une âme décédée aura toujours le pouvoir de nous émouvoir 😽
I can't get over how beautiful the 2nd movement ("Voluptes") is. I did not realize until just now (looking at the score) how elaborate the use of bird song (or birdlike figuration) is in the latter half of the movement.
Birdcall is underrated.
Ive known about Scriabin for years, but I'm finally taking the time to dive into his works.. WOW! Such intoxicating music. Why cant there be more 13 chords and polytonality in radio music!?!?!?
Where is there polytonality in this piece?
Radio music speaks another language, which isn't that ugly after all. But Scriabin speaks his own language through the "Mystic chord" and I just love this language.
This is in the standard 12 notes scale in C minor, all of it.
Got to know this piece aged 17 when I was gifted a Soviet Lp,conducter was Konstantin Ivanov.Moscow philharmonic [from memory-unfortunately I'm not a Russian speaker & needed a friend to translate the cyrillic].Now aged 60 & Scriabin has not dimmed in interest.Died too young & in the wrong historical period-in another context his work would have been the foundation of an entire school of music composition.
I don't understand why Scriabin's symphonies tend to be overlooked. They are just as beautiful as Tchaikovsky's or Rachmaninov's, and way ahead of his time.
And way ahead our time too
I might be wrong about this, but to me the problem is this music really influenced film composers (of the 50’s?) which are now quite dated to modern audiences, melodramatic and sentimental..I’d have hated this symphony ten years ago, I;d have thought it had no substance.
But when I see his remarkable influence, and hear the extraordinary creativity and vision, I can get over the fact that it sounds just like film music I have absolutely no interest in
You like Tchaikovsky?
And I am also aware that Scriabin was far beyond a late romantic composer. He was a pioneer of musical modernism, just because he didn’t invent a new system of composition doesn’t mean he wasn’t a modernist. Just listen to the full version of Mysterium to really get an idea of how far this went, and it was far beyond conventional tonality into something genuinely mystical and profound.
@@MagnanimousDominion Far beyond tonality in itself. In the Mysterium you can clearly hear how his chordal approach to melody as horizontal harmony is in fact precisely what Liszt had defined as 'omnitonique'
I am ready to go to Heaven after this heavenly glorious music.
Fantastic symphony, like all the Scriabin's!
I was not very convinced by the merit of this work until hearing this performance.
excellent performance!... brilliant Svetlanov´s conducting,.
Wonderful! Wonderful! Wonderful!
Se l'originale è una registrazione Melodya allora è la migliore .
Svetlanov un grande direttore e l'orchestra una delle più riconosciute.
'
What a piece of music
Personal timestamps:
0:00 Chủ đề mở đầu
Chương 1
1:16 Chủ đề 1
5:00 Chủ đề Kết
Chương 2
24:06 Chủ đề 1
Chương 3
36:55 Chủ đề 1
38:23 Chủ đề 2
44:24 Chủ đề Kết
For eternity ...
1 часть:
Вступление 0:00
ГП 1:16
ПП1 3:03
ПП2 3:38
Разработкат 9:56
Кода 20:06
2 часть:
Основная тема 24:06
3 часть:
ГП 36:55
ПП 38:23
Кода: 44:24
great sound quality thanks for the upload. can really hear the stereo effects.
Great, under appreciated music.
I was not particularly impressed with this symphony until I heard it in a live performance in Hamburg in the 1990s. And the conductor was...Evgeny Svetlanov. I think he brought his orchestra along.
Masterpiece.
Love! Thank you!
I moved/discovered Joseph Marx after Scriabin. The Herbstsymphonie is fantastic for highly complex melodies/orchestration etc. Scriabin is hard to beat though.
Что тут скажешь?
Если бы надо было изложить тантру и кундалини-йогу,
то, на мой взгляд, лучших средств для этого,
чем поэма экстаза и божественная поэма скрябина, просто не существует.
А исполнение Светланова и оркестра Усср- это просто единый титанический порыв,
это божественно мощнейший труд для искусства. Я бесконечно благодарен за этот шедевр!
Там был ГосОркестр, а не УССР.) Отлично исполнено!
My favourite❤
20:42
29:50
38:23
Personal timestamp ;)
Thanks for posting this - glad to see it here. Back in the 1970s I had a wonderful L.P. recording of this symphony by the U.S.S.R. Symphony Orchestra, conducted by Yevgeny Svetlanov - but I haven't heard it for years now, and have nothing to play it with. Is this the very same recording of it - or did Svetlanov do it more than once?
Scriabin isn't a genius, the term "genius" expresses too little of his music and philosophy. If I may refer to his own piece, he is a "Man-God" with a free spirit and thinking.
But you still have to admit he had a bit of an advantage with his synesthesia which gave him a direct way of knowing how each sound made the heart feel so to speak
He also was very narcissistic tbh
@A M and used that to look down on all the other contemporary composers, what do we call that again?
@@pierreemad2220 He didn't have true synaesthesia.
@@DavenH really? Can you send me the source please?
@@pierreemad2220 hmm... I replied with a link. Did that get auto-removed?
My fave moment from 38:23
++++++++++
29:54 say hi
For me is from 17:00 to 18:00
0:00 is a good plact to start. ^
Indeed
This orchestra is nowadays called the State Academic Symphony Orchestra of the Russian Federation
If not the 4th note (at the beginning), it could've been Liszt's Totentanz!
Ha, I am used to Gergiev's faster opening tempo...
4:52
um dos últimos ótimos compositores romãnticos...
Still, hard to find the morbid transcription for 2 pianos, thumping ecstasy
El gran final
quieren conocer la mejor version?
orchestre de paris con daniel barenboim .take it or.....its up to you...
Britney Spears Vaby Obe More Time
5:35