5:06Prelude And Nocturne For The Left Hand, Op.9Prelude And Nocturne For The Left Hand, Op.9
Alexander Scriabin
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Explore folhas de piano de Alexander Scriabin no Zen Virtual Piano. In the summer of 1891 Alexander Scriabin hurt his right hand through too much practice, and he used the time to build up his playing with the left. For that hand he composed his Prelude and Nocturne, Op. 9, in 1894, according to Henle. The Scriabin Association adds that an accident at the age of fourteen, in which a horse-drawn vehicle hit him as he crossed the road and fractured his right collarbone, may have made him prone to the injury, which returned in 1893. An injury that forced him to favor one hand and then led to a work for that hand alone suggests how a setback can steer a composer's choices. His mother was diagnosed with a lung infection ten days after his birth and was sent to Italy, where she died of tuberculosis the following year, and his father returned to the law studies he had broken off. At three he could already pick out melodies with one finger at the piano. He entered the Moscow Conservatory in January 1888 and studied piano with W. Safonov and counterpoint and composition with S. Taneyev, then from 1889 also with A. Arensky, whom he offended by saying he lacked admiration for Tchaikovsky's work. A child who played tunes at three, studying later with several teachers at once, suggests a musician whose early gifts met a full schedule of instruction. Throughout his studies the relationship with Arensky was strained; Scriabin finished with the small gold medal, and Rachmaninoff received the large one. A small gold medal beside a classmate's large one leaves his student years with a note of rivalry. He found a sponsor in M. Belyaev, a rich industrialist and publisher of music, who funded his concerts and edited his works. His early music was strongly shaped by Chopin, both in the forms he chose, such as mazurkas, preludes and etudes, and in his harmony. A publisher who funded concerts and a model he followed closely suggest a young composer working inside a supportive circle before finding his own manner. Scriabin had colour hearing, a direct link in his mind between particular sounds or chords and colours, and he held that in his music melody is distributed harmony and harmony is condensed melody. Colour hearing and a view of harmony as condensed melody point to a composer who thought in sound and image together. In 1906 the Belaieff board awarded him the Glinka prize for his Third Symphony. Scriabin gave his last public recital in Petrograd on 2 April 1915, playing only his own piano pieces to great success. He died on the morning of Easter Sunday, a dozen or so days later, of a blood infection. A recital of only his own piano pieces so close to the end suggests a composer still firmly at the keyboard.
Explore folhas de piano de Alexander Scriabin no Zen Virtual Piano.
In the summer of 1891 Alexander Scriabin hurt his right hand through too much practice, and he used the time to build up his playing with the left. For that hand he composed his Prelude and Nocturne, Op. 9, in 1894, according to Henle. The Scriabin Association adds that an accident at the age of fourteen, in which a horse-drawn vehicle hit him as he crossed the road and fractured his right collarbone, may have made him prone to the injury, which returned in 1893. An injury that forced him to favor one hand and then led to a work for that hand alone suggests how a setback can steer a composer's choices.
His mother was diagnosed with a lung infection ten days after his birth and was sent to Italy, where she died of tuberculosis the following year, and his father returned to the law studies he had broken off. At three he could already pick out melodies with one finger at the piano. He entered the Moscow Conservatory in January 1888 and studied piano with W. Safonov and counterpoint and composition with S. Taneyev, then from 1889 also with A. Arensky, whom he offended by saying he lacked admiration for Tchaikovsky's work. A child who played tunes at three, studying later with several teachers at once, suggests a musician whose early gifts met a full schedule of instruction.
Throughout his studies the relationship with Arensky was strained; Scriabin finished with the small gold medal, and Rachmaninoff received the large one. A small gold medal beside a classmate's large one leaves his student years with a note of rivalry. He found a sponsor in M. Belyaev, a rich industrialist and publisher of music, who funded his concerts and edited his works. His early music was strongly shaped by Chopin, both in the forms he chose, such as mazurkas, preludes and etudes, and in his harmony. A publisher who funded concerts and a model he followed closely suggest a young composer working inside a supportive circle before finding his own manner.
Scriabin had colour hearing, a direct link in his mind between particular sounds or chords and colours, and he held that in his music melody is distributed harmony and harmony is condensed melody. Colour hearing and a view of harmony as condensed melody point to a composer who thought in sound and image together. In 1906 the Belaieff board awarded him the Glinka prize for his Third Symphony. Scriabin gave his last public recital in Petrograd on 2 April 1915, playing only his own piano pieces to great success. He died on the morning of Easter Sunday, a dozen or so days later, of a blood infection. A recital of only his own piano pieces so close to the end suggests a composer still firmly at the keyboard.
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