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The Notebooks
of Alexander Skryabin
Alexander Skryabin in 1914 (© Skryabin Museum, Moscow)
The Notebooks
of Alexander Skryabin
T R A N S L AT E D B Y S I M O N N I C H O L L S
AND MICHAEL PUSHKIN
A N N O TAT I O N S A N D C O M M E N TA RY
BY SIMON NICHOLLS
1
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.
1 3 5 7 9 8 6 4 2
Printed by Sheridan Books, Inc., United States of America
Dedicated to the memory of Dr. Oliver Smith (1979–2013)
CONTENTS
List of illustrations xi
Foreword xiii
Vladimir Ashkenazy
Editorial procedure xv
The Translations xv
Russian dates xvii
Acknowledgements xix
Introduction 1
Simon Nicholls
CULTURAL CONTEXT 1
BIOGRAPHICAL ELEMENTS 5
The Notebooks:
I. A SINGLE SHEET, WRITTEN AT THE AGE OF ABOUT SIXTEEN 49
II. PERIOD OF THE FIRST SYMPHONY, AROUND 1900 50
III. CHORUS FROM SYMPHONY NO. 1 51
IV. LIBRETTO FOR AN OPERA, WRITTEN AFTER SYMPHONY NO. 1
BUT BEFORE 1903 52
V. NOTEBOOK, SUMMER 1904, SWITZERLAND 61
VI. NOTEBOOK, 1904–5 66
VII. NOTEBOOK, 1905–6 102
vii
viii Contents
Commentary 175
Simon Nicholls
A ‘PHILOSOPHER-MUSICIAN’? 177
THE INFLUENCE OF PHILOSOPHY
Music and philosophy 178
Skryabin’s reading 179
Ernest Renan 180
Greek philosophy 181
German idealism 183
Russian philosophy and Russian symbolism 186
Skryabin in 1914 ii
Lyubov′ Petrovna Skryabina (Shchetinina) 5
Lyubov′ Alexandrovna Skryabina 7
Sergei Taneyev 9
Vasilii Safonov 10
Natal′ya Sekerina 12
Sergei Trubetskoy 13
Vera Skryabina (Isakovich) 14
Tat′yana de Schloezer 16
Vésenaz 17
Yulii Éngel′ 18
H. P. Blavatsky 20
Konstantin Bal′mont 22
Skryabin’s funeral procession (press photograph) 23
Russkie propilei: title page of the original edition, 1919 29
Skryabin and Baltrušaitis, 1913, Petrovskoe 32
Belotte 64
Reproductions from the original edition:
Two drawings by Skryabin 85
Two excerpts from the Preliminary Action in Skryabin’s manuscript 125, 133
Vladimir Solovyov 187
Vyacheslav Ivanov 188
Les Lilas, Vésenaz 189
Margarita Morozova 196
Leonid Sabaneyev with Tat′yana de Schloezer and Alexander Skryabin 225
Mikhail Gershenzon 228
xi
FOREWORD
Evaluation of Skryabin’s music is not an easy task. His idiom is often dismissed—
his early music simply as too Chopinesque and his late music as the sense-
less product of an amateur philosopher. Skryabin’s orchestral music, perhaps
excluding The Poem of Ecstasy, is not often performed.
But his piano music survives. He was, after all, an excellent pianist, and his
piano sonatas and many other pieces are often an integral part of many pian-
ists’ repertoire—and not only those of the Russian school. Sergei Rachmaninov
played a lot of Skryabin’s music, and closer to our time Svyatoslav Richter also
had many of his pieces in his repertoire. There are countless CDs available of
his piano music played by pianists from many countries. Evidently his idiom in-
spires artistic endeavour in the minds and souls of many performers.
It would be pointless to go here into detailed analysis of Skryabin’s idiom
and the message of his final product. One tends to simply accept the fact of
the survival of his spirit and register that his message has a meaning inherently
connected with our spiritual existence—and that is one hundred years after
his death.
There is evidence that (just before 1903) Skryabin once wrote: ‘I am the
apotheosis of world creation. I am the aim of aims, the end of ends’. As a very
frequent visitor to the Skryabin Museum in Moscow in the 1950s and 1960s,
I often heard the director of the museum, Mrs. Tatyana Shaborkina, telling vis-
itors that shortly before his death Skryabin uttered a statement to this very same
effect—obviously meaning that once he ceased to exist, the world would also
come to an end. Whatever he might have meant, and whatever his philosophy,
Skryabin’s music is still around and is important to many of us.
Vladimir Ashkenazy
xiii
E D I TO R I A L P RO CE D U R E
The Translations
We have sought to give as accurate a rendering of the Russian text as possible.
Following Mikhail Gershenzon, Skryabin’s first editor, we have not attempted
to correct the ellipses, inconsistencies, and grammatical lapses due to the
composer’s hasty noting down, for private use, of thoughts as they occurred
to him. Our aim in translating the poetical writing was to adhere as closely as
possible to the sense of the Russian, rather than to try to reproduce metres or
rhymes which Skryabin used.1
In Skryabin’s writing, as in Russian writing about Skryabin, words and con-
cepts recur frequently. Russian and English words overlap in their meanings but
do not necessarily coincide exactly, and so it is not always possible to achieve
a word-for-word equivalence. We have, however, attempted to reproduce repe-
titions to some extent, when these constitute a stylistic feature with which the
Russian language is more comfortable than is English. It may be helpful to pro-
vide a short glossary of some words in this key vocabulary which have several
equivalents or present other special features:
xv
xvi Editor ial P rocedure
We have worked from original sources wherever possible, but references are
made to good English translations of Russian and German texts when avail-
able. In the case of Boris de Schloezer’s Skryabin, translated into English as
Scriabin: Artist and Mystic,7 the excerpts quoted have been newly translated, with
the page reference of the original given first and that of the published transla-
tion following. Translations of the titles of all Russian sources are given in the
bibliography.
Russian dates
Throughout Skryabin’s lifetime Russia used the Julian Calendar ( = ‘Old Style’,
OS), gradually abandoned in most of Europe after 1582. Russia adjusted its
dates to the Gregorian calendar ( = ‘New Style’, NS) in 1918. Calendar dates
in Russia in this book are given in Old Style, events elsewhere in New Style. In
the nineteenth century, the Julian calendar was behind the Gregorian by twelve
days; from the end of February 1900, the discrepancy increased to thirteen days.
Where dates are given in both styles, Old Style comes first.
Notes
1. See the section ‘Skryabin’s poetic language’, 203–07.
2. William Leatherbarrow. “Conservatism in the age of Alexander I and Nicholas I.” In A History of
Russian Thought, edited by William Leatherbarrow and Derek Offord. Cambridge: Cambridge
University Press, 2010, 110.
3. Alexandre Scriabine. Notes et réflexions, carnets inédits. Translated with introduction and notes
by Marina Scriabine. Paris: Editions Klincksieck, 1979.
4. Russkie propilei (Russian propylaea—‘propylaea’ being the word used in classical Greek for a
monumental gateway) was an annual publication of material relating to Russian thought and
literature, which appeared from 1915 to 1919 with the exception of 1917. See the section
‘Mikhail Gershenzon and Russkie propilei’, 228–29.
5. Alexander Skrjabin. Prometheische Phantasien. Translated and with introduction by Oskar von
Riesemann. Stuttgart: Deutsche Verlags-Anstalt, 1924.
6. A. Eaglefield Hull. A Great Russian Tone-Poet, Scriabin. London: Kegan, Paul, Trench, Trubner,
1916, 258; Alfred J. Swan, Scriabin. London: John Lane, 1923, 27.
7. B. F. Shletser. Skryabin. Tom I: Lichnost′, Misteriya. Berlin: Grani, 1923. English transla-
tion: Boris de Schloezer. Scriabin: Artist and Mystic. Translated by Nicolas Slonimsky. With
introductory essays by Marina Scriabine. Oxford: Oxford University Press, 1987.
ACKNOWLEDGEMENTS
This book could not have been written without the generous help of Russian
institutions and of many individuals. Friends and colleagues have helped with
obtaining source materials, some very scarce, and with advice. I am indebted to
the following:
In Moscow
Andrei Golovin, composer
Alina Ivanova-Skryabina, journalist
Aleksandr S. Skryabin, president of the A. N. Skryabin Foundation
Professor Vladimir Tropp, head of piano faculty, Gnesin Academy, pro-
fessor of piano, Tchaikovsky Conservatoire
xix
xx A ck nowl edg ements
Cultural context
Alexander Skryabin (1872–1915) was a Russian composer who came to believe
that he had a mission to regenerate mankind through art. This goal was to be
achieved by means of a work which he referred to as the Mystery, which was to
last seven days, would involve all means of expression and all of humanity, and
would transform the world.
As a teenager, Skryabin was a devout Orthodox Christian. As a result of a
hand injury, sustained through over-practice, he became convinced that his
chances of a concert career were over. This experience, and perhaps also ro-
mantic disappointment, led to a rejection of his faith. At this point, Skryabin’s
encounter with philosophy began: a lifelong programme of reading, in search of
support for ideas which had already begun to develop within him. These ideas
had much in common with the German idealist school of philosophy, and later
incorporated Eastern thought. Skryabin’s interest in this area had commenced
with his reading of the theosophical theories of H. P. Blavatsky.
Skryabin’s thought was not systematic; it was a world view that increasingly in-
fluenced his musical creation. His belief in a higher self, identical with the Divine,
came first from German idealism and was confirmed by his reading of Blavatsky
and of such original works of Eastern thought as became available to him.
The indivisibility, for Skryabin, of his musical creation and his system of
thought was self-evident to him: ‘It is almost like a synthetic work. These ideas
are my plan, and they enter into the work just as the sounds do. I create it to-
gether with them . . . just as with the text in The Poem of Ecstasy.’1
These concepts have led to speculation about Skryabin’s state of mind, and
to controversy regarding the validity of the music itself as it increasingly re-
flected the composer’s overarching idea. In recent years, comment has turned
to the influence of Skryabin’s world view on his music.2 The purpose of this
book is to present as clearly and fully as possible the documents that record
the development of that world view. The primary source is the writings of the
1
2 The Notebooks of Alexander Skryabin
The approaching end of the world is wafting onto my face like some
distinct but impalpable breeze,—as a wanderer nearing the sea feels the
sea air before catching sight of the sea. Mais c’est une mer à boire. [But it
is a sea from which one may drink].3
Int roduc tion 3
For many Russian artists in the nineteenth and twentieth centuries, the content
and purpose of art were all-important. The purely aesthetic view of Roger Fry,
that art ‘presents a life freed from the binding necessities of our actual existence’,4
would have been foreign to them. There was controversy, though, about ‘the
differing permutations of the art/reality relationship’.5 The leading symbolist
writer Valerii Bryusov expressed the debate in an essay entitled “The Sacred
Sacrifice”: ‘Like the realists, we recognise life as the sole embodied subject for
art—but while they were seeking it outside themselves, we turn our gaze inward.
[ . . .] There is the path which has led art to the symbol.’6 Skryabin, who expressed
in an early letter the view that the ‘realist school’ would finally ‘triumph’,7 may be
thought of as undergoing this journey himself.
The old concept of a sacred Russian mission has sometimes been given
the name of the ‘Russian idea’, notably by Solovyov himself and by Skryabin’s
close friend in later life the poet-philosopher Vyacheslav Ivanov, who included
an essay, “On the Russian Idea”, in his collection of essays entitled According
to or By the Stars. This volume was a favourite of Skryabin’s.8 The concept of a
‘Russian idea’, which dates back to the sixteenth century at the latest, was re-
vived by Dostoevsky in his “Pushkin: A Sketch” (1880), in which Dostoevsky
suggests that it is the destiny of ‘the future Russians’ to ‘utter the ultimate word
of great, universal harmony’.9 Skryabin’s view of his personal mission was ‘that
all of humanity [should] be embraced by a single feeling, a single thought, a
single striving’.10 The Russian philosopher of art and religion Nikolai Berdyaev
regarded the ‘Russian idea’ as ‘eschatological, it is orientated to the end; it is this
which accounts for Russian maximalism.’11 Berdyaev’s view of the future of art,
expressed in 1914, corresponded with the view of Ivanov and Skryabin in that
Berdyaev thought of the ‘prophetic future’ of art as belonging to ‘synthetic, the-
urgic art’, which ‘passes out beyond the bounds of culture into new being.’12
Through the Moscow philosopher Sergei Trubetskoy, and later through
Vyacheslav Ivanov, Skryabin became familiar with philosophies ranging from the
ancient Greeks to the work of Solovyov. Solovyov and Ivanov believed that art
needed to return to its collective spiritual roots to recover life and significance.
The concept of ‘ecstasy’ as leading to intuitive understanding is also found
in Russian philosophy and literature. This concept is central to Skryabin’s world
of thought. Solovyov insisted on the importance of ‘ecstatic inspiration’ in cre-
ative work.13 An essay, “Keys to the Secrets”, by Bryusov, first read as a lecture
in Moscow in March 1903, speaks of ‘moments of ecstasy’ as making possible
a more profound and penetrating insight, and states that the primal task of art
‘consists in imprinting these moments of insight, of inspiration’.14 Skryabin’s
work on composing his own Poem of Ecstasy started in 1905.
In the same year Skryabin began to read the theosophical works of the Russian
émigré H. P. Blavatsky. She combined Hindu, Gnostic, and other elements in
4 The Notebooks of Alexander Skryabin
It was under the influence of this combination of ideas that Skryabin’s music
underwent a rapid development from a Chopin-influenced romanticism to a
language at the borders of tonality. According to Symbolist philosophy, words
and music both point to something which is, according to Ivanov, ‘of an order re-
vealed only in inward experience’.18 The evocative performance directions in the
scores of the later works (épanouissement de forces mystérieuses, l’épouvante surgit)
are pointers to this inner world. The development of Skryabin’s thinking, as re-
corded in the notebooks published in this volume, provides a key to the signifi-
cance of the music and to what is being evoked by the performance directions or
by such titles as Poème ailé or Vers la flamme.19
Skryabin’s thought, and the music that expresses it, can be regarded as
drawing contemporary Russian trends in thought and art, as seen through
the self-absorbed consciousness of a creative artist, to their logical conclu-
sion. During this process, Skryabin travelled far from his sources. His rejection
of Christianity distanced him from the views of Dostoevsky, Solovyov, and
Trubetskoy. The thought also has strange elements for an English-speaking
readership of the early twenty-first century, which has learned to look on vi-
sions of social unity with scepticism, and to which the viewpoint of Freud is
more familiar than that of the ancient Greeks. Art has stepped down from the
elevated pedestal it occupied in Skryabin’s era and is having to learn to elbow its
way through the marketplace.
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