The Alexander Scriabin companion: history, performance, and lore
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| Sprache: | English |
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Rowman & Littlefield
[2017]
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| Online-Zugang: | Inhaltsverzeichnis Literaturverzeichnis Register // Gemischte Register |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xviii, 422 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781442232617 |
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| 245 | 1 | 0 | |a The Alexander Scriabin companion |b history, performance, and lore |c Lincoln Ballard, Matthew Bengtson, with John Bell Young |
| 264 | 1 | |a Lanham |b Rowman & Littlefield |c [2017] | |
| 264 | 4 | |c © 2017 | |
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| 500 | |a Includes bibliographical references and index | ||
| 600 | 1 | 4 | |a Scriabin, Aleksandr Nikolayevich |d 1872-1915 |x Criticism and interpretation |
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Datensatz im Suchindex
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| adam_text | Contents
Foreword vii
Preface ix
Acknowledgments xv
1 En Garde or Avant-Garde? Exploding the Scriabin Myth 1
Part I: Encountering Scriabin
2 Life, Legacy, and Music 15
3 The Solo Piano Music 33
4 Symphonies and Orchestral Works 74
Part II: Topics in Reception History
5 Madness and Other Myths 113
6 On Synaesthesia or “Color-Hearing” 131
7 Scriabins Russian Roots and the Symbolist Aesthetic 158
8 The Revival in 1960s America 182
Part III: In Performance
9 From Musical Text to the Imagination 207
10 Technique 218
v
vi Contents
11 Line and Melody 239
12 Harmony 251
13 The Scriabin Sound 282
14 Rhythm 306
Notes 327
Glossary and Pronounciation Guide 381
Bibliography 391
Index 397
About the Authors 421
Bibliography
BOOKS AND DISSERTATIONS
Baker, James. The Music of Alexander Scriabin. New Haven: Yale University Press, 1986.
Bosshard, Daniel. Thematisch-chronologisches Verzeichnis der musickalischen Werke von Alexan-
der Skrjabin. Mainz: Ediziun Trais Giats Ardez, 2003.
Bowers, Faubion. The New Scriabin: Enigma and Answers. New York: St. Martins Press, 1973.
Bowers, Faubion. Scriabin: A Biography. Second rev. ed. Mineola, NY: Dover, 1996.
Delson, Viktor. Skriabin: Ocherki zhizni i tvorchestva [Essays on His Life and Creative Works].
Moscow: Muzyka, 1971.
Feinberg, Samuil. Pianizm kak iskusstvo [Pianism as Art]. Second ed. Moscow: State Publish-
ing House, 1969.
Garvelmann, Donald. Youthful and Early Works of Alexander and Julian Scriabin. New York:
Music Treasure Publications, 1970.
Gershenzon, Mikhail, ed. Russkie propilei: Materialy po istorii russkoe mysli i literatury. Vol. 6.
Moscow: Sabashnikovykh’, 1919.
Guenther, Roy. “Varvara Dernovas Garmoniia Skryabina: A Translation and Critical Com-
mentary.” Ph.D. dissertation, Catholic University of America, 1979.
Heyman, Katherine Ruth. The Relation of the Ultramodern to Archaic Music. Boston: Small
Maynard and Co., 1921.
Hull, Arthur Eaglefield. A Great Russian Tone-Poet: Scriabin. London: Kegan Paul, 1921.
Kashperov, Alexei, ed. Pisma: Aleksandr Nikolaevich Skriabin. Moscow: Muzyka, 1965.
Kelkel, Manfred. Alexandre Scriabine: sa vie, Tesoterisme et le langage musical dans son oeuvre.
Paris: Champion, 1978.
Leikin, Anatole. The Performing Style of Alexander Scriabin. Farnham and Burlington, VT:
Ashgate, 2011.
Macdonald, Hugh. Skryabin. London: Oxford University Press, 1978.
Markus, Stanislav, ed. Aleksandr Nikolaevich Skriabin, 1915—1940: Sbornik k 25-letiiu so dnia
smerti. Moscow, Leningrad: Gosudarstvennoe Muzykal’noe izdatel’stvo, 1940.
391
392 Bibliography
Metzger, Heinz-Klaus and Rainer Riehn. Aleksandr Skrjabin und die Skrjabinisten. München:
Edition Text + Kritik, 1983.
------. Aleksandr Skrjabin und die Skrjabinisten II. München: Edition Text + Kritik, 1983.
Mitchell, Rebecca. Nietzsche s Orphans: Music, Metaphysics, and the Twilight of the Russian
Empire. New Haven, CT: Yale University Press, 2016.
Mitchell, Edward. Scriabin: The Great Russian Tone Poet. London: Hawkes Sons, 1927.
Morrison, Simon. Russian Opera and the Symbolist Movement. Berkeley: University of Cali-
fornia Press, 2002.
Pavchinsky, Sergei E. A. N. Skriabin: sbornik statei: k stoletiiu so dnia rozhdeniia (1872—1972).
Moscow: Sovetski kompozitor, 1973.
Powell, Jonathan. After Scriabin: Six Composers and the Development of Russian Music. Ph.D.
dissertation, University of Cambridge, 1999.
Rimsky-Korsakov, Nikolai. My Musical Life. Translated by Judah Joffe. New York: A. A.
Knopf, 1942.
Rudakova, Ye. and A, I. Kandinsky. Scriabin: His Life and Times. Neptune City, NJ: Pagani-
niana Publications, 1984.
Sabaneev, Leonid. Modern Russian Composers. New York: International Press, 1927.
------. Alexander Skrjabin: Werk und Gedankenwelt. Berlin: Kuhn, 2006.
------. Vospominaniia o Skriabine. Moskva: Klassika-XXI, 2000.
Schibli, Sigfried. Alexander Skryabin und seine Music. Munich: R. Piper, 1983.
Schloezer, Boris. Scriabin: Artist and Mystic. Translated by Nicolas Slonimsky. Berkeley: Uni-
versity of California Press, 1987.
Steger, Hanns. Materialstrukturen in den funf späten Klaviersonaten Alexander Skjabins. Regens-
burg: Gustav Bosse Verlag, 1977.
Swan, Alfred. Scriabin, London: William Clowes Sons, 1923.
Vanechkina, I. L. and B. M. Galeyev, eds. Poema ognya: Kontseptsia svetomuzykaTnogo sinteza
A. N. Skriabina. Kazan: Izdatelstvo Kazanskogo Universiteta, 1981.
Widmaier, Sebastian. Skrjabin und Prometheus. Karlsruhe: Hanke-Verlag, 1986.
Williams, Edward. The Bells of Russia: History and Technology. Princeton: Princeton University
Press, 1985.
ARTICLES IN NEWSPAPERS, BOOKS, AND JOURNALS
Abraham, Gerald. “Scriabin Reconsidered.” Musical Standard (Sept. 1931): 214—16.
Antcliffe, Herbert. “The Significance of Scriabin.” Musical Quarterly 10/3 (July 1924):
333-45.
Baker, James. “Scriabin’s Music: Structure as Prism for Mystical Philosophy.” In Music Theory
in Concept and Practice, 53—96. Rochester: University of Rochester Press, 1997.
Belza, Igor. “Alexander Scriabin.” Soviet Literature 2 (1947): 62—65.
Bowers, Faubion and Diana Cavallo. “A 60-Year-Old Controversy Flares Up Again.” High
Fidelity Magazine (June 1969): 54-61.
Brent-Smith, Alexander. “Some Reflections on the Work of Scriabin [Pts. I : II].” Musical
Times 67/1001 and 1002 (1 July and 1 August 1926): 593-95; 692-95.
Brown, Malcolm. “Skriabin and Russian ‘Mystic’ Symbolism.” 19th-Century Music 3 (1979):
42-51.
Bibliography
393
Carlson, Maria. “Fashionable Occultism: The World of Russian Composer Aleksandr Scri-
abin.” Reprinted in Journal of the Scriabin Society of America 12/1 (Winter 2007-2008):
54-63.
Cooper, Martin. “Scriabins Mystical Beliefs.” Music Letters 16/2 (April 1935): 110-15.
------. “Aleksandr Skryabin and the Russian Renaissance.” Stud։ musicali 1 (1972): 327—56.
Evans, Edwin. “Scriabin.” Fortnightly Review 103/582 (June 1915): 1071—80,
Garcia, Emanuel. “Rachmaninoff and Scriabin: Creativity and Suffering in Talent and Ge-
nius.” Psychoanalytic Review 91/3 (June 2004): 433-42.
Garcia, Susanna. “Scriabins Symbolist Plot Archetype in the Late Piano Sonatas.” 19th-
Century Music 23/3 (Spring 2000): 273-300.
Goodfriend, James, ed. “Why Alexander Scriabin?” Stereo Review 30 (Jan. 1973): 68-71.
Grange, Henry-Louis de la. “Prometheus Unbound.” Music and Musicians (Jan. 1972): 34-43.
Heckman, Don. “Scriabin: ‘Ice, Cocaine, Rainbow.’” New York Times, 10 October 1970, D28.
Herndon, Claude. “Skryabin s New Harmonic Vocabulary in His Sixth Sonata.” Journal of
Musicological Research 4 (1983): 353-68.
Hope, Adrian. “Fiery Music of a Mystic.” Life 69/16 (16 October 1970): 72—76.
Hughes, Allen. “Hilde Somer, Pianist, Tries Out Scriabins Multimedia Concept.” New York
Times, 18 December 1969, 63.
Hull, Arthur Eaglefield. “The Five Symphonies of Scriabin.” Monthly Musical Record 46 (1
February 1916): 36,
------. “A Survey of the Pianoforte Works of Scriabin.” Musical Quarterly 2/4 (October 1916):
601,614.
------. “The Pianoforte Sonatas of Scriabin [Pts. I : II].” Musical Times 57, Nos. 885 and
886 (November 1 and December 1, 1916): 492-95; 539—42.
Lavoie-Herz, Siegfried. “The Art of Alexander Nikolaievitch Skriabin.” The Etude 44 (May
1926): 345-46, 399.
Livingston, Tamara. “Music Revivals: Towards a General Theory.” Ethnomusicology 43/1
(Winter 1999): 66-85.
Lunacharsky, Anatoly. “On Scriabin.” Translated by Don Louis Wetzel. Journal of the Scriabin
Society of America 8/1 (Winter 2003-2004); 37-44.
Lyle, Wilson G. “Alexander Scriabin—Innovator of Sound and Colour.” Musical Opinion
(April 1940): 401-03.
Macdonald, Hugh. “Words and Music by A. Skryabin.” Musical Times 113/1547 (January
1972): 22-27.
Macdonald, Hugh. “Lighting the Fire: Skryabin and Colour.” Musical Times 124/1688 (Oc-
tober 1983): 600-602.
Marvick, Louis. “ Two Versions of the Symbolist Apocalypse: Mallarmé s Livre and Scriabin’s
MysteriumL Criticism 28/3 (Summer 1986): 287-306.
Matlaw, Ralph. “Scriabin and Russian Symbolism.” Comparative Literature 31 (1979): 1—23.
Mirka, Danuta. “Colors of a Mystic Fire: Light and Sound in Scriabins Prometheus·.” American
Journal of Semiotics 13, nos. 1-4 (Fall 1996): 227-48.
Montagu e-Nathan, M. “Belaiev—Maecenas of Russian Music,” Musical Quarterly 4/3 (July
1918): 450-65.
Newmarch, Rosa. “Scryabin and Contemporary Russian Music.” Russian Review 2/1 (1913):
153-69.
Newmarch, Rosa. “Scriabins PrometheusMusic Student (1915): 196.
394
Bibliography
------. “‘Prometheus: Poem of Fire.” Musical Times 55/854 (1 April 1914): 227-31.
------. “Alexander Scriabin.” Musical Times 56/868 (1 June 1915): 329-30.
Peacock, Kenneth. “Synaesthetic Perception: Alexander Scriabins Color Hearing.” Music Per-
ception 21A (Summer 1985): 483-506.
Perle, George. “Scriabins Self-Analyses.” Music Analysis 3/2 (1984): 101-23.
Poriss, Hilary. “Women, Musical Canons and Culture: Katherine Ruth Heyman.” Journal of
the Scriabin Society of America 2/1 (Winter 1997-1998): 14-31.
Reise, Jay. “Late Skriabin: Some Principles Behind the Style.” 19th-Century Music 6/3 (Spring
1973): 220-31.
Rodgers, John. “Four Preludes Ascribed to Yulian Skriabin.” 19th-Century Music 6/3 (Spring
1983): 213-19.
Rosenfeld, Paul. “Scriabine.” Seven Arts 2 (August 1917): 638—45.
Rubbra, Edmund. “The Resurgence of Scriabin.” The Listener (26 February 1970): 289.
Rudyar, Dane. “Djane Lavoie-Herz and Her Work.” In Rudhyar Archival Project [database
online]; originally published in the Musical Observer (March 1926). Available from http://
www.khaldea.com/rudhyar/djanelavoieherz.html. Accessed 15 July 2007.
Runciman, John. “Noises, Smells, and Colours.” Musical Quarterly 1/2 (April 1915): 149-61.
Sabaneev, Leonid. “Scriabin and the Idea of a Religious Art.” Musical Times 72/1063 (1 Sep-
tember 1931): 789.
------. “A. N. Scriabin - A Memoir.” Russian Review 25/3 (1966): 257—67.
Sabaneev, Leonid and S. W. Pring. “Scriabin: On the Twenty-Fifth Anniversary of His Death.”
Musical Times 81/1168 (June 1940): 256—57.
Sabaneev, Leonid. “Religious and Mystical Trends in Russia at the Turn of the Century.” Rus-
sian Review 24/2 (October 1965): 354-68.
Schloezer, Boris. “Scriabine.” Modern Music: The League of Composers Review 1/3 (November
1924): 14-18.
Scriabine, Marina. “Alexandre Scriabine.” Le Cahiers Canadiens de la Musique 3 (1971):
23-26.
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Yuenger, Blanche. “A Scriabin Jubilee.” Chicago Tribune, 10 January 1972, BIO.
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Index
Abbado, Claudio, 98, 101, 110, 198-99
Abraham, Gerald, 30, 114, 164-66, 190,
339n3, 360n85
accents, 77-78, 212, 222, 227, 237, 243,
310-12
accident, 34
acoustic scale, 275, 278
acoustic shadow, 305
Acte préalable (Prefatory Act), 2, 26, 59,
172, 196, 332n30
action (dyeistviye), 8, 11, 329n20
Adams, Ansel, 358n37
aesthetics, 2, 3, 203, 214; culture
and, 8; emotions and, 4; light and,
142; mysticism and, 3, 22, 185;
of Symbolism, 174-76, 179-80;
synaesthesia and, 351 n63
Affektenlehre. See Doctrine of Affections
airplane, 378nl9
Aldrich, Richard, 185, 188
Alexander Scriabins Ragtime Band, 53
Alexander Scriabin: The Great Russian Tone
Poet (Hull, A.), 34, 274
Alexandrov, Anatoly, 37
Alexandrovich, Nikolai (father), 16, 130
Allegro appassionato Op* 4, 36, 316
Allegro de Concert Op. 18, 225
Altschuler, Modest, 66; as champion of
Scriabins music, 94, 97, 102; Russian
Symphony Orchestra Society and, 85,
92, 97, 98, 102, 184; Symphony No.
3 in C minor Op. 43, Le Divin Poème
{Divine Poem) and, 92—93; Symphony
No. 4, Poème de P Extase {Poem of Ecstasy)
in C major Op. 54 and, 94, 97, 186;
Symphony No. 5, Prometheus: Poem
of Fire in R major Op. 60 and, 142,
155
Andjaparidze, Eteri, 145-46, 155
Années de pèlerinage {Years of Pilgrimage)
(Liszt), 170
A. N Skriabin i ego tvorchestvo (Scriabin and
His Creative Work) (Gunst), 27
Antheil, George, 346n57
Apollon, 176
Arensky, Anton, 75, 84, 88
Aristotle, 203, 363nl31
arm weight, use of, 232, 288, 290
arpeggiated chords, 297, 314, 316, 367n9,
375n25
arrangement in fourths, 276-77
Asafiev, Boris, 10, 28, 48, 126, 161, 163
Ashkenazy, Vladimir, 26, 70, 72, 197
atonality, 6, 337n68
397
398
Index
attack, 213, 225, 232, 237, 283, 288, 311,
315, 320
auditory gravitation, 10
augmented fourths, 358n32
augmented sixth chords, 91, 254-56, 255,
257, 369n8, 369nl3; French Sixth
chord, 256, 258, 260, 264, 269, 278
Austro-German music, 166, 190,
191-92
avant-garde, 1, 199, 378nl9
AO, 202, 363nl27
Bach, Johann Sebastian, 36; French Suites,
377n9; as master of counterpoint, 84;
preludes of, 59; solo concertos, 76;
WTC, Books I and II, 59-60, 275, 309
Baker, James, 4-5, 140-41, 257
Bakhtin, Mikhail, 6—7, 10, 329n28
Balakirev, Miiy, 20, 218
Ballade in At Op. 47 (Chopin), 288
Ballade No. 10 in Dt major (Chopin), 56
Balmont, Konstantin, 169—70, 174
Baltimore Symphony Orchestra, 142
Baltrušaitis, Jurgis, 174
Barcarolle Op. 60 (Chopin), 288
Barere, Simon, 31
Baroque era, 6
Barthes, Rolande, 9
Bartók, Bela, 50
Basile, Armand, 305
Bastei, 61
Battle of Borodino, 12
Baudelaire, Charles, 175, 355n6l
the Beatles, 197
Bechstein piano, 375n38
Beethoven, Ludwig van: Creatures of
Prometheus, 98; Fifth Symphony, 148;
influence on piano sonata, 39; influence
on Scriabin, 148; light and, 148;
“Moonlight” Sonata Op. 27 No. 2, 39;
Ninth Symphony, “Chorale,” 37, 75,
82, 184-85, 332n45; “Ode to Joy,” 82;
Scriabins criticism of, 138-39; Sixth
Symphony, “Pastorale,” 87, 148; Sonatas
of, 36, 38, 39; symphonies of, 138—39;
Third Symphony, “Eroica,” 98; trills
and, 152, 375n29
Beliaev, Mitrofan, 43, 324; death of, 17-18,
89; Glinka Prize and, 42; letters to,
54-55, 336n48, 337n62; Liadov and,
246, 368nl4; as patron of Scriabin, 75,
81, 84, 99; publishing house of, 55; on
Symphony No. 1 in E major Op. 26, 84
Beliaev circle, or Beliayevski kruzhok,
352nl2
Bell, Theodore, 146
Bella, Rudolf, 68
bells: bell-like tone quality, 169, 285—88; in
First Sonata, 38; influence on Russian
composers, 168-69; intended for
Mysterium, 46, 172; as musical influence
on Scriabin, 169-70; Rachmaninov
and, 168-69, 170 in Russian music,
168-73, 354n48; in Seventh Sonata,
46, 48; in Sixth Sonata, 45; in Sonata
No. 1 in F minor Op. 6, 38, 171, 172
in Sonata No. 3 in F# minor Op. 23,
171-72; in Sonata No. 5 in Ff major
Op. 53, 172; in Sonata No. 6 Op.
62, 172, 173; in Sonata No. 7 Op. 64
“White Mass,” 173; symbolic qualities
of, 168, 169; timbre of, 169; ubiquity of
bells in Russian life, 46, 168-69; in Vers
la Flamme Op. 72 (Toward the Flame),
173; zvon, 169
The Bells Op. 35 (Rachmaninov), 169
Bely, Andrei, 64, 180, 355n81, 364nl8
Benois, Alexandre, 178
Berg, Alban, 161, 239
Berlioz, Hector, 49, 87, 89, 92
Bernstein, Leonard, 76, 192
Besant, Annie, 23, 187
biographers, 27-32
birthday, 15, 29
The Birth of Tragedy from the Spirit of Music
(Nietzsche), 20, 83, 93
Bizet, Georges, 362nl26
Blanc-Gatti, Charles, 138
Der Blaue Reiter, 117
Blavatsky, Helena Petrovna, 23-24, 98-99,
121-22, 142, 187, 189, 200, 358n44
Blumenfeld, Felix, 97
Blythe, Alan, 196
Bolshoi Theater, 143
Index
399
Book About Stravinsky (Asafiev), 28
Boris Godunov (Mussorgsky), 46, 169
Borodin, Alexander, 169
Borovsky, Alexander, 69
Boston Evening Transcript, 184
Boston Symphony Orchestra, 88, 108, 187,
191
Botstein, Leon, 342n71
Bott, Joseph, 201
Boulez, Pierre, 108-10, 199, 322
Boult, Adrian, 30
bourgeois culture, 28
Bowers, Faubion, xii—xiii, 277, 34ln45;
Abraham criticism of, 360n85;
biography of, 30, 195; career as writer,
123; criticism of, 82; education and
background of, 122—23; heterosexual
affairs, 123; homosexuality and, 125,
346n44; myths created by, 122-26; on
Scriabin interpreters, 197; sensationalism
of, 124; Theosophy and, 24; writing
style of, 123-24
Brahms, Johannes, 36, 75, 77, 247, 316,
369n8
Brassin, Louis, 67
Brent-Smith, Alexander, 19, 189—90
Bright Colors Falsely Seen: Synaesthesia and
the Search for Transcendental Knowledge
(Dann), 136-37
Biilow, Hans von, 339n4
Buyukly, Vsevolod, 209
By the Stars. See Po zvezdam
bytovoi romans (urban romance style), 165
Byzantine chant, 7
cadential phrasing, 309
cadenzas, 77
calligraphy, 246, 368nl3
Calvocoressi, Michel, 190
La Campanella (Liszt), 170
Canon in D minor, 34
cantabile, 241, 283, 290
Caresse dansee Op. 57 No. 2, 285
Carnegie Hall, 97, 102, 131, /32, 133,
140-41, 155, 183
The Cave. See Peshchera
centennial celebrations, 29, 196—99
character indications (expression marks),
188; color and, 298-99, 299; French,
364n7; Italian, 209, 364n7; of Poème
ailé Op. 51 No. 3, 212; poetic, 188,
209-10, 298; in Sonata No. 5 in Fjf
major Op. 53, 210; in Sonata No. 6 Op.
62, 299; Sonata No. 7 Op. 64 “White
Mass,* 151 ; in Sonata No. 9 Op. 68
“Black Mass,* 209; of Sonata No. 10
Op. 70, “Trill,” 210; unusual, 90,
207
Chau, Henry, 337n77
Chekhov, Anton, 68
Cherkass, N. N.. 284-85, 374nl4
Chicago Symphony Orchestra, 85, 93, 101,
103, 109, 110
childhood, 27, 78, 299
children, 40, 121, 347n61
Chopin, Frédéric, 36, 377n9; Ballade in
Ab Op. 47, 288; Ballade No. 10 in
Db major, 56; Barcarolle Op. 60, 288;
Etude Op. 10, 56, 61, 219, 366nl2,
368n20; Etude Op. 25, 55, 61, 219;
“Funeral March” Sonata, 264; hand
positions and, 366nl2; imagination of,
52; mazurka and, 51-52; musical style
of, 17, 35; nationalism and, 37, 160,
163; as pervasive influence on Scriabin,
16-17, 37, 38, 52, 55, 78-79, 180,
184, 194, 218, 254, 317, 320; Piano
Concerto in Ft minor Op. 20 and, 78;
Prelude Op. 11 and, 378n24; Prelude
Op. 28, 35, 59, 60, 61, 78-79, 79;
rhythms of, 306—7, 377n4, 377n6;
Sonata No. 2 in Bl minor, 20; tempo
rubato and, 306-7
chorale textures, 253—54, 294, 368n4
chords, 221; arpeggiated, 297, 314, 317,
367n9, 375n25; foundation, 277;
French sixth, 256, 258, 260, 264, 269,
278; nicknamed, 256-58; repeated,
288-89, 320, 336n6; resonance of,
223; rolled, 222; skyscraper, 293; of
Sonata No. 1 in F minor Op. 6, 223,
224, 225; of Sonata No. 4 in Ft major
Op. 30, 366nl5; spacing of, 223, 224;
stacked, 222, 223; Tristan, 258—61, 259,
400
Index
37O11I8, 370ri20; walk-arounds, 237,
368n2. See abo specific types
Christianity, 11
Chuev, Felix, 130
Cincinnati Symphony Orchestra, 81, 183
circle of fifths, 136, 267
Čiurlionis, Mikalojus, 64, 179—80,
355n80
Clark, Edward, 30
Clarke, Martha, 68
Classical Era, 76
clavier à Lumières, 98, 139
Clementi, Muzio, 289-90
Cleveland Orchestra, 189
Les cloches de Genève (Liszt), 170-71, 171
Q, minor Prelude (Rachmaninov), 34, 171
Coates, Albert, 92—93, 105, 106, 128, 151,
187
Cold War, 130
color, 296-99; character indications and,
298-99, 299՝, circle of fifths and, 136;
colored light performances, 131-36,
132, 140-47, 155, 195, 349n38,
350n39; color-tonal correspondences,
136, 347n7; creativity and, 138;
dynamics and, 297; harmony and, 257;
key signatures and, 370n32; numbers
and, 180; pianism and, 296; in Sonata-
Fantasie (No. 2) in Gjt minor Op. 19,
297; in Sonata No. 6 Op. 62, 299՝, in
Sonata No. 7 Op. 64 “White Mass,”
298, 298; thinking, 138; trills and, 236,
237, 238. See abo synaesthesia
color-hearing. See synaesthesia
color organ. See tastiera per luce
color-tonal correspondences, 136, 347n7
Columbia Records, 340n33
Comfort Me With Apples (De Vries), 93
Comissiona, Sergei, 142
compositional language, 1, 7
compositional process, 58
compositional techniques, 41, 75, 84, 163,
190
compositional vocabulary, 2, 4
conductors, 86, 102-10
Conjure Wife (Leiber), 49
Cooper, Frank, 192
Cooper, Martin, 31
Copland, Aaron, 37, 192
Corder, Frederick, 101
cosmopolitanism, 28, 162
counterculture, American, 93, 144, 183,
199-203, 204
counterpoint, 8; Bach as master of, 84; in
Etude Op. 42, 249; in Piano Concerto
in Ff minor Op. 20, 247, 248; in
Sonata No. 4 in F# major Op. 30, 246;
in Sonata No. 6 Op. 62, 249, 368nl9;
in Sonata No. 8 Op. 66, 249, 249; in
Sonata No. 10 Op. 70, “Trill, 249-50,
250
Couperin, Francois, 59
Cousin, Victor, 22
Cousins, Margaret, 187, 345n35
Craft, Robert, 196
Cranko, John, 97
The Creation (Flaydn), 148
creative act, 20
creative personality, 1
creativity, 64, 74, 86, 123, 138, 212, 262,
299
Creatures of Prometheus (Beethoven), 98
criticism, 19, 29-30, 101, 189; of double
performances, 105; of harmony, 190;
of Piano Concerto in F# minor Op. 20,
340nl4; Russian style and, 162-63;
of Symphony No. 1 in E major Op.
26, 102, 185; of Symphony No. 3
in C minor Op. 43, Le Divin Poème
(Divine Poem), 90, 92, 185-86; of
Symphony No. 4, Poème de PExtase
(Poem of Ecstasy) in C major Op. 54,
97, 114, 151, 191 ; of Symphony No. 5,
Prometheus: Poem of Fire in F% major Op.
60, 101, 114, 142, 143. See abo specific
critics
Cross, Lowell, 144
Crowley, Aleister, 33In 17
Cubo-Futurists, 378nl9
Cui, Cesar, 33
culture, 5, 8, 28, 123, 162, 174, 177, 195,
365n7. See abo counterculture, American
cycle-of-thirds, 372n64
Cytowik, Richard, 133, 137
Index
401
Dahlhaus, Carl, 203—4
dance music, dance rhythms, 76, 78, 85,
162,319-20
danger, 68
Dann, Kevin, 136—37
Danse languide Op. 51 No. 4, 18, 267, 268
death, 178, 186; cause of, 128—29;
Koussevitzky and, 126; Moscow
Conservatory and, 126; myth about
Easter, 27, 66, 68-69, 117, 124, 130;
myths about, 128—29; popularity after,
126; Rachmaninov memorial tour after,
68—69, 126; Schloezer, B., and, 120;
unpopularity after, 19, 27—32, 189—91
death harmonies, 258, 277, 279
The Death of Alexander Scriabin (Russell),
331nl7
Debussy, Claude, 208, 217, 229, 334nl7,
354n48, 355n61; Etude in Fourths,
277; impressionistic interpretation and,
374nl6; intervals of, 277; light and,
150; La Mer, 150; Nuages, 82; Prélude
à Taprès-midi dun faune, 82; Prelude
Ondine, 277; whole-tone scale of, 274
Delville, Jean, 99, 100
Demon (series of paintings, Vrubel), 179
“Demon,” 179
Dernova, Varvara, 256, 328n7
Désir Op. 57 No. 1, 167, 264
desire, dominant seventh chords and,
261-63
Deutsche, Stephen, 115
Deutsche Grammophon, 109
Deutscher, Isaac, 127
development, 76, 86
Devil, as artistic symbol, 65—66, 178—79
De Vries, Peter, 93
diachronic point of view, 159
Dionysus, 20, 93, 176, 210, 212
Disney, Walt, 103
dissonance, 88, 98, 188, 239, 273, 302
distribution of notes among the hands, 223,
222, 228-36, 235
Divine Poem. See Symphony No. 3 in C
minor Op. 43, Le Divin Poème
Divine Will, 175
divisi strings, 89
Dixon, James, 105
Doctrine of Affections {Ajfektenlehre), 134,
148,215
dominant function, 268-69, 270-72
dominant seventh chords, 62, 261-67, 263,
265-67 370n34
Don Giovanni (Mozart), 36
dotted rh^hms, 79, 312—14, 314, 316
double notes, 216
double performances, 105
Downes, Olin, 29, 108, 190—91, 197
dramaturgy, 335n29
“Dream of a Witches’ Sabbath,” 49, 92
Dr. Zhivago, 1, 89
Dubuc, Alexander, 290
Duncan, Isadora, 54, 335n46; “The
Crossing at St. Petersburg,” 54, 335n46;
“Mother,” 54, 335n46; “Revolutionary,”
54,335n46
duple meters, 243, 319
dyeistviye. See action
dynamics, 9, 208—9, 234, 283—85, 373n4,
374nn23—24; color and, 297; melody
and, 241-42; pedal techniques and, 303;
of piano, 296, 375n39 * piano rolls and,
308; in Sonata No. 5 in F| major Op.
53, 286-87; of Sonata No. 6 Op. 62,
288; volume, 375n30
Early Music revival, 194
early period melody, 241—42
ecstasy, 4—5, 21, 93, 175-76
edinstvo. See unity
Edition Russe de Musique, 43, 83
education, 22, 27. See ako Moscow
Conservatory
Einstein, Albert, 135
Elbe Sandstone Mountains, 61
“Elements of Russian Music” (Abraham),
165
Ellington, Duke, 134
Ellis, Van Zandt, 198
Elman, Mischa, 97
Emerson, Caryl, 121
emotions, 4, 95, 165, 208, 216, 242
Engel, Carl, 161
Engel, Yuli, 27, 162, 208
402
Index
England, 29, 126, 127, 332n45
Enigme Op. 52 No. 2, 314—15
Enlightenment, 9, 134
equal-tempered tuning, 116
eroticism, 42, 68, 165, 176, 195-96, 261,
368nl2
Eternal Feminine, 212, 244
Étrangeté Op. 63 No. 2, 273, 277, 287,
287 294, 303, 315
Etude in Fourths (Debussy), 277
Etude Op. 2 No. 1, 220, 239, 290, 335n46;
harmony of, 251; Horowitz and, 113,
241-42; pedal techniques in, 300, 301;
recordings of, 54
Etudes Op. 8: key signatures of, 55,
348nl5; No. 1-5, 55; No. 7, 55, 221;
No. 8, 55, 241; No. 9, 55-56, 221,
316-17, 325; No. 10, 56, 227; No, 11,
55, 56, 220; No. 12, 35, 54, 55, 56,
73, 220-21, 226, 227, 239, 289, 324,
335n46, 336n51, 379n37; recordings
of, 56; Scriabin letter to Beliaev about,
54-55, 336n48
Etudes Op. 10 (Chopin), 56, 61, 219,
366nl2, 368n20
Etudes Op. 25 (Chopin), 55, 61, 219
Etudes Op. 42, 375n25; counterpoint in,
249; No. 1, 56-57, 320-22, 379n37;
No. 2, 57; No. 3, 57, 153, 237; No. 4,
57, 183; No, 5, 54, 57, 183, 232, 232,
239, 253, 294, 335n46; No. 6, 57; No.
7, 57; No. 8, 57, 379n37; polyrhythms
in, 320-22; recordings of, 57; rhythm
in, 56-57, 320-21; Skriabina, V., and,
56-57
Etude Op. 49 No. 1, 58, 379n37
Etude Op. 56 No. 4, 58, 379n37
Etudes Op. 65: letter to Sabaneev about, 58;
No. 1 in Ninths, 58-59, 220, 242, 243,
277, 365n8; No. 2 in Sevenths, 58-59;
No. 3 in Fifths, 58-59, 289; recordings
of, 59
execution, interpretation and, 109, 214,
343n79
expression, 379n36
expression marks. See character indications
expressive performance, 241-42
Extase chord, 258, 263-67, 267, 269, 275,
369nl7, 372n54
falling sixth intervals, 86
falling thirds, 250
family, 16, 40, 121, 130, 290, 347n61
fanfares (zov), 367n24; Garcia on, 364nl2;
in Sonata֊Fantasie (No. 2) in G| minor
Op. 19, 312, 313; in Sonata No. 3 in
F# minor Op. 23, 312, 313; of Sonata
No. 7 Op. 64 “White Mass,” 289, 312;
of Symphony No. 4, Poème de PExtase
(Poem of Ecstasy) in C major Op. 54,
212; of Symphony No. 5, Prometheus:
Poem of Fire in 7^ major Op. 60, 212;
of Vers la Flamme Op. 72 (Toward the
Flame), 312
Fantasia, 103, 134
Fantasy in B minor Op. 28, 35—36, 53,
241, 247, 289, 375n25, 375n30
Faust (Goethe), 212
Federal Music Project, 189
Feinberg, Samuil, 53, 71-73, 209, 252,
284, 300, 309, 325-26
feminine, 66, 212, 244
Fennell, Ernest, 30, 190
Ferguson, John, 22
Festival of Romantic Music, 192, 193
Feuillet d album Op. 45 No. 1, 232, 262
Feuillet d album Op. 58, 18
fiction, appearances in, 331nl7
Field, John, 289-90
Fifth Symphony (Beethoven), 148
filigree, 81
finales, 85
fin de siècle intelligentsia, 22
fingers, 218, 227-28, 236-38, 250, 365n6.
See also hands
Firebird (Stravinsky), 109, 165
“First Flower Child,” 145, 201, 202
First Viennese School, 161
Flamm, Christoph, x, 224
Flammes sombres Op. 73 No. 2, 371 n42
Fleming, Alexander, 129
flight, 234, 314, 315, 368nl2
Flight of the Bumblebee (Rimsky-Korsakov),
152
Index
403
floating rhythms, 266
fluttering pedal techniques, 302—3, 376n50
folk dances, 78, 85, 162, 320
folk music, 27, 128, 160, 163, 164, 166,
319
folk mythology, 51
Fonteyn, Margot, 97
Formalism, as a critical and theoretical
approach to Scriabins music, 7—8, 109
formal traditions, 41
Forte, Allen, 257
foundation chords, 277
fourths, arrangement in, 276—77
Fragilité Op. 51 No. 1, 18, 220, 262
Franck, Cesar, 4l, 221, 289, 334nl7
Francke, J. E., 184
Der Freischütz (Weber), 92
French sixth chords, 256, 258, 260, 264,
269, 278
French Suites (Bach), 377n9
Freud, Sigmund, 125
Frolova-Walker, Marina, 162
fugue, 84, 85
full pedal technique, 305
“Funeral March” Sonata (Chopin), 264
Futurists, 378nl9
Fyodorova, Margarita, 66, 71
Galeyev, Bulat, 140
Garcia, Susanna, 211-12, 244, 364nl2,
364nnl5-16, 367n9, 368nl2
Garvelmann, Donald, 48
Gawboy, Anna, 99, 140, 141, 144, 344nll,
348n21
Gergiev, Valery, 85
German sixth chords, 255, 260
Gesamtkunstwerk, 25, 135, 177, 183
gestures, 38, 45, 211—13
Gielen, Michael, 145
Gieseking, Walter, 325, 366n20
Gilels, Emil, 63, 73
Gilman, Lawrence, 29—30, 92
Glazunov, Alexander, 74, 75, 166, 357n23
Glinka, Mikhail, 162, 166—67, 290
Glinka Prize, 42, 82, 90, 97, 100
Godowsky, Leopold, 34, 219
Goethe, Johann Wolfgang von, 98, 212
Goldenweiser, Alexander, 35, 71
Golovanov, Nikolai, 29
Gordon, David, 53
Gorky, Maxim, 357n23
Gould, Glenn, 41, 198, 361 n99
Gould, Richard, 39, 350
Gradova, Gitta, 188
Granados, Enrique, 211
Grant, Mark, 185
Gray, Cecil, 183, 190
Great Depression, 189
Great Freeze, 214
Great Time, 10, 329n28
Greek Music Drama, 5, 7, 8
Grout, Donald, 160, 177
Grove, George, 348n22
Guide to the Practical Study of Harmony
(Tchaikovsky, V.), 256, 369n8
Guirlandes Op. 73 No, 1, 320
Gunst, Evgen, 27, 34
hairpins, 241—42, 367n6
half pedal technique, 305
half-step resolution, 256
Hallé Orchestra, 93
hands: crossings, 67, 220, 234;
desynchronization of, 241, 320, 367n4;
distribution of notes among, 221, 222,
226—36, 235; division of labor among,
218, 233; flexibility, 365n5; injury to
right, 20, 38, 219; interlocking thumbs,
231, 367n22; interplay, 228-36; leaping
technique, 218, 220, 221, 227—28,
228; Liszt and, 234; muscular strength
of, 227, 365n5; positions, Chopin
and, 366nl2; redistribution of parts
between, 222, 233, 234, 367n23nn24;
right hand passagework, 216; roles of,
233; score and, 228-29; in Sonata No.
3 in Ft minor Op. 23, 229, 231; thumb
crossings, 231, 366n22; trills technique,
237; wrist technique, 216, 218, 225-27.
See also left hand
happenings, 144, 200
harmonic blending, 302
harmonic experiments, 337n68
harmonic innuendo, 244
404
Index
harmonic language, 2-3, 11, 56, 251,
252-54
harmonic mannerisms, 189
harmonic paradox, 9
harmonic style, 45, 46
harmony, 221; color and, 257; criticism of,
190; death, 258, 277, 279; dissonance
and, 239; of Etude Op. 2 No. 1, 251; of
Glinka, 166-67; jazz, 261; of Liszt, 252,
254; of Mazurka Op. 3, 251-52; melody
and, 47, 279; mystic, 278-81; in Piano
Concerto in F# minor Op. 20, 253,
253 of Prelude Op. 74, 251; in Russian
music, 166-67; of Schumann, R., 267;
sensitivity to, 251; of Sonata No. 6
Op. 62, 252; of Symphony No. 3 in C
minor Op. 43, Le Divin Poéme (Divine
Poem), 91; of Symphony No. 4, Poéme
de VExtase (Poem of Ecstasy) in C major
Op. 54, 94, 167; in Symphony No. 5,
Prometheus: Poem of Fire in F major Op.
60, 50, 100—101; tonality and, 370n32;
of Wagner, 18
Harnoncourt, Nikolaus, 7
Haydn, Joseph, 36, 148
Hayers, Sidney, 49
Heckman, Don, 201
Helffer, Claude, 228
Henahan, Donal, 73
Henderson, William J., 97, 142-43, 188,
340nl4f 357nl7
HentofF, Nat, 197
Hexameron, 193
Heyman, Katherine Ruth W, 48, 69-70,
123, 188, 197
high art (stile antico), 84
Hinduism, 22, 23, 180
History of Russian-Soviet Music (Bakst), 4
History of Western Music (Grout), 160
Hoffmann, E. T. A., 139, 348nl9
Hofmann, Josef, 183
Holden, Scott, 237-38
homosexuality, 125, 346n44
horizontal thinking, 257
Horowitz, Vladimir, 73, 326; Etude Op. 2
No. 1 and, 1 13, 241—42; live recordings
of, 41; melody and, 241; recordings of,
72, 197, 198, 241, 324; Sonata No. 9
Op. 68 “Black Mass” and, 50, 72, 324;
Sonata No. 10 Op. 70, “Trill” and, 238;
talent of, 374nl 1; tempo choices of,
50, 324; tempo rubato and, 242; Vers la
Flamme Op. 72 and, 72, 155, 337n76
Horowitz: Λ Reminiscence, 113
Hrdliczka, Gertrud, 88
Hughes, Allen, 196
Hull, Arthur Eaglefield, 24, 34, 36, 84,
94-95, 127, 188, 332n45; mystic chord
and, 274-75; on Sonata No. 9 Op. 68
“Black Mass,” 49
Hull, Robert, 31, 190
Hume, Paul, 191, 203
Ideal Creative Power, 42
Igumnov, Konstantin, 300, 376n47
An Illustrated Encyclopedia of Mysticism and
the Mystery Religions (Ferguson), 22
imagination, 114, 156, 211, 257
Imagists, 9
imitation, 84, 161
Imperial Mariinsky Theater, 101
impressionistic interpretation, 285, 374nl6
Impressionists, 176
Impromptu a la Mazur Op. 7 No. 2, 320
Impromptu Op. 7 No. 2, 321
Impromptu Op. 10, 224
Impromptu Op. 12, 172, 316
Impromptu Op, 14 No. 2, 316
improvisation, 16, 367n9
incisive strikes, 285-86
influences on musical style, 15-18, 79
injury to right hand, 20, 38, 219
insanity, 19, 31, 101, 113-15, 118, 121, 196
interlocking thumbs, 231, 367n22
International Symphony, 110
interpretation, 70, 109, 110, 214, 229, 285,
343n79, 374nl6
interval cycles, 337n68
intervallic inversions, 246, 258
intervallic retrogrades, 246
intervallic space, 10
intervallic tension, 241, 255, 367n3
intervals: of Debussy, 277; falling sixth, 86;
forbidden, 58; intonatsiia and, 9-10; of
Index
405
mystic chord, 22; smallest possible, 155;
tritones, 256, 267, 273, 369nl2
intonatsiia (Russian intonation theory),
9-10, 367n3
Introduction to Contemporary Music
(Machlis), 183
Islamey (Balakirev), 20, 218
Italian sixth, 260
Ivanov, Vyacheslav, 25, 174—78, 180
Ivanov-Boretski, Mikhail, 28
Ives, Charles, 26, 50, 188, 192, 281
Der Jacobsleiter (Schoenberg), 26
jazz, 53, 220, 256, 261, 277
Jenkins, Cyril, 106
Joshua Light Snow, 145
journals, 21
“Jupiter” Symphony (Mozart), 75
Jürgenson, Pyotr, 16
kairosy 203, ЗбЗпІЗІ
Kalafati, Vasily, 86
Kamarinskaya (Glinka), 162
Kanfer, Stefan, 197—98
Kant, Immanuel, 18
Kaprów, Allan, 200
Karatygin, Vyacheslav, 16, 28, 83, 178, 275
Kashir, 44
Kelkei, Manfred, 2
Kerman, Joseph, 183
key signatures; color and, 370n32; of Etudes
Op. 8, 55, 348nl5; of Liszt, 348nl5;
piano sonatas and, 48; synaesthesia and,
136y 138, 221, 347n7, 348nl5
Kissin, Evgeny, 80
Komen, Paul, 63
Konyus, Georgi, 378n23
Konyus, Lev, 90, 95
Korsakovskaya gamma (Rimsky-Korsakov),
167
Koussevitzky, Serge, 98, 101; background
of, 106; baton technique of, 342n71;
championing of Scriabins music, 43,
107; death and, 126; disillusionment
with Scriabins music, 31, 108, 191;
Downes enthusiasm for, 108, 187,
190—91; legacy as a conductor, 107,
107—8, 342n71; Mysterium and, 186-87;
performing Piano Concerto in Ft minor
Op. 20, 107 reputation of, 107-8;
Symphony No. 4, Poème de l’Extase
{Poem of Ecstasy) in C major Op. 54 and,
97, 107-8, 187, 191; Volga tour of, 80,
107; wealth and patronage of, 186-87
Kozlov, Alexei, 200
Krehbiel, Henry, 97, 106, 185
Kreisler, Johannes, 139
Kreisleriana (Hoffmann), 139
Kresh, Paul, 20 Î
kujawiak, 51
Lang, Paul Henry, 6, 189
language, 177
Lapshin, I. L, 3
Laredo, Ruth, ix, 72, 197, 198
large-scale forms, 86
laser light shows, 147
The Last Romantic y 113
Latin music, 53
Lavoie-Herz, Djane, 187-88, 197
Lazio Somogyi, 144
leading tones, 95
leaping technique, 218, 220, 221, 227—28,
228y 316
learned style, 84—85
LED lights, 156
left hand: development, 216, 220-21;
emancipation of, 219—21; Left-hand
alone waltz (lost), 219, 365n2; Nocturne
for left hand alone Op. 9 No. 2, 34-35,
183, 219, 365n2, 365n6; piano music
of, 220—21; Prelude for left hand alone
Op. 9 No. 1, 219, 369n6, 376n50; role
of, 218; technique of, 219; thumb of,
220, 365n6; treble clef in, 365n8. See
also hands
left-hand alone waltz (lost), 219, 365n2
legacy, 15, 31, 69, 103, 158; fringe interests
and, 182; Ivanov as proselyte of, 177;
multi-faceted, 204; mysticism and, 22;
mystique about, 115; Piano Concerto
in Ft minor Op. 20 and, 76; Piano
Sonatas and, 33; Schloezer, B., and, 120;
synaesthesia and, 131, 137
406
Index
legato, 65-66, 231, 285, 291
The Legend of the Invisible City ofKitezh
and the Maiden Fevroniya (Rimsky-
Korsakov), 169
Leiber, Fritz, 49
Leikin, Anatole, 68, 165, 214, 296, 307
Leitmotif, 42, 175, 211, 261-62
Lentulov, Aristarkh, 143
Leonard, Richard, 164
Lermontov, Mikhail, 179
Lermontova, Varvara, 119
Leschetitsky, Theodor, 16, 290
Lewenthal, Raymond, as Romantic
revivalist, 70, 193, 193-94, 197, 360n45
Lhévinne, Josef, 20, 34-35, 183
Liadov, Anatoly, 77, 83-84, 87, 100, 102,
246, 249, 368nl4
Das Lied von der Erde (Mahler), 6
Life magazine, 195
A Life for the Tsar (Glinka), 162, 166
lifestyle, 129
light, 5, 10, 287; aesthetics and, 142;
Beethoven and, 148; colored light
performances, 131-36, 732, 140-47,
155, 195, 349n38, 350n39; construction
of, 147—55; Debussy and, 150; fire,
212; laser light shows, 147; LED, 156;
as musical metaphor in Scriabin’s music,
42, 46, 50, 67-68; passages in his
music that depict light, 47, 148, 294;
in Piano Concerto in F# minor Op. 20,
294; in Sonata No. 4 in F| major Op.
30, 149, 150 in Sonata No. 6 Op. 62,
152; in Sonata No. 7 Op. 64 White
Mass,” 757, 151-52; in Sonata No.
9 Op. 68 Black Mass,” 152, 753; in
Sonata No. 10 Op. 70, Trill,” 152-53,
753—54, 294; symbolism of, 148-49;
in Symphony No. 3 in C minor Op.
43, Le Divin Poerne {Divine Poem),
149; in Symphony No. 4, Poéme de
PExtase {Poem of Ecstasy) in C major
Op. 54, 150-51; in Symphony No. 5,
Prometheus: Poem of Fire in D major
Op. 60, 50, 294; techniques used by
Scriabin to create the impression of, 45,
148, 155; technology and, 147; trills as
luminosity, 67, 152, 753-54; as used in
performances of Scriabins piano music,
210; in Vers la Flamme Op. 72 ( Toward
the Flame), 154, 294
Lights, Pablo, 145
linguistic theory, 9
Liszt, Franz, 192; Années de pèlerinage {Years
of Pilgrimage), 170; La Campanella, 170;
daughter of, 339n4; hands and, 234;
harmony of, 252, 254; influence on
Scriabin, 16-17, 37, 38, 41, 42, 146,
218; as inventor of symphonic poem,
64; key signatures of, 348nl5; Les cloches
de Genève, 170—71, 777; Mephisto Waltz
No. 7, 65, 261; pedal techniques of, 305,
376n48; pianistic technique, 17; Piano
Sonata in B minor, 37-38, 334nl0;
Les Préludes, 64; Prometheus,” 98;
Réminiscences de Don Juan, 20, 218; as
representative of Music of the Future,”
254; similarities to Scriabin, 16, 29, 33,
34; Un Sospiro Concert Etude, 234, 236;
tone poems and, 64; Transcendental
Études, 55, 218; use of thematic
transformation, 244
liturgical chant, 11
Le Livre {The Book) (Mallarmé), 26, 180
Lobanov, Pavel, 307
Loewe, Carl, 64
Lomaland, 23-24
London Symphony Orchestra, 97, 105, 144
Los Angeles Philharmonic, 106, 110
Lourié, Arthur, 97, 120, 127
Lucifer, 98, 99, 179, 186, 212
Lunacharsky, Anatoly, 120, 127, 160
Lydian-Dominant, 275
Lydian-Mixolydian, 275
lyrical shaping, 241
Maazel, Lorin, 194
Macdonald, Hugh, 66, 144—45, 166, 182,
203, 260
Machlis, Joseph, 183
madness. See insanity
Magic Fire Music,” 67
The Magic Flute (Mozart), 23
Mahler, Gustav, 6, 82, 87, 161
Index
407
Mallarme, Stéphane, 26, 175, 180, 355n60
Mann, William, 19
“Mannheim Steamroller,” 75
The Man Who Tasted Shapes (Cytowik),
133
Margulis, Vitaly, 41, 72
Marx, Adolph Bernhard, 243, 244
masculine, 66, 212, 244
Masonic symbolism, 23
Matthews, David, 239
Mazurkas Op. 3, 16, 52-54, 247, 251-52,
255
Mazurkas Op. 25, 35, 53-54, 172, 247,
252-53, 317, 318
Mazurkas Op. 40, 54, 212, 325
mazurkas, 51—52, 252
McGill University, 137
Medtner, Nikolai, 37
Meichik, Mark, 44
melody: dynamics and, 241—42,- early
period, 241—42; emotions and, 242;
harmony and, 47, 279; Horowitz and,
241; performance of, as hallmark of
Scriabins compositional style, 241—42;
of Sonata No. 6 Op. 62, 244, 245; of
Sonata No. 7 Op. 64 “White Mass,”
244; of Sonata No. 8 Op. 66, 244
Mephisto Waltz No. 1 (Liszt), 65, 261
La Mer (The Sea) (Debussy), 150
Messiaen, Olivier, 42, 131, 138, 257, 273
metric ambiguity, 316
metronome marks, 322, 324
middle-period preludes, 61—62
Mighty Five (.Moguchaya kuchka), 33, 61,
64, 162, 167
Millar, Preston, 142
Miller, Henry, 94, 341n45, 363nl27
Milton, John, 148
minor ninths, 293
minor seconds, 155
Mir Iskusstva (World of Art), 174
mist pedal technique, 300
Mitchell, Edward, 70
Mitchell, Rebecca, 118, 276, 279
mobility techniques, 227-28
modal thinking, 278
modernism, 189, 200, 357nl8
modernity, 143
modern playing styles, 213-15, 364n20
Modern Russian Composers (Sabaneev), 118
Moguchaya kuchka. See Mighty Five
Molotov, Vyacheslav, 115, 130, 343n8
Molotov cocktail, 130
Molotov Remembers: Inside Kremlin Politics,
130
Monteaux, Pierre, 108
Monterey Pop Festival, 199
“Moonlight” Sonata Op. 27 No. 2
(Beethoven), 39
Morceaux Op. 2, 16
Morozova, Margarita, 43, 89, 187, 344nl4,
355n81
Morris, Mitchell, 262
Morrison, Simon, x, 25, 176, 200, 275,
279
Moscow Conservatory: alumni of, 34, 71,
102, 134; death and, 126; Scriabins
tenure as professor of piano, 35, 52;
Scriabins training at, 16, 17, 20, 75,
164, 166; teaching staff, 17, 71, 74, 75,
81, 84, 89, 90, 166
Moscow Scriabin Society, 330n6
mothers, 335n46
motives, 9—10, 11, 175, 317
moustache, 129, 246
Mozart, Wolfgang Amadeus, 23, 36, 75, 78,
317,377n9
Mozer, Alexander, 139
Mravinsky, Yevgeny, 110
Mtiller-Streicher, Friederike, 306
Musical Americay 142
musical cognition, 8
Musical Contemporary. See Muzykal niy
sovremennik
musical criticism, 9
musical imagery, 4
musical imagination, 8
musical meaning, 5
Musical Uproar in Moscow (Werth), 28
The Music of Alexander Scriabin (Baker),
4-5
“Music of the Future” movement, 254, 257,
260
musicology, 3
408
Index
Mussorgsky, Modest, 9, 46, 124, 166, 169,
170, 263-64
Muti, Riccardo, 88, 110
Muzyka, 116
MuzykaVniy sovremennik {Musical
Contemporary), 27
Myaskovsky, Nikolai, 37, 97
Myers, Charles S., 137-38, 348nl4
Myers, Rollo, 19
Mysterium, 24, 36; bells intended for, 46,
172; death harmonies in, 258, 277,
279; description of, 25—27; influences
on (Theosophy, Symbolism), 25;
Koussevitzky and, 186—87; philosophy
and, 200; relation to Acte préalable, 26;
religion and, 25; Sabaneev and, 118;
Schloezer, B., and, 120; similarity to
contemporary projects, 46, 48—49, 50,
63
mystical anarchy, 210, 212
mystic chord, 30, 258, 269; Extase
chord and, 275, 372n54; history and
significance, 273—78; Hull, A., and,
274-75; intervals of, 22; Newmarch on,
371n48; octatonicism, octatonic scale
and, 273, 371n42; overtones, overtone
series and, 274—76, 372n50; Sabaneev
and, 116, 119, 273, 274, 276, 372n53,
372n63; Seventh Sonata and, 46, 47; in
Sonata No. 7 Op. 64 “White Mass,” 46,
47, 280; in Sonata No. 8 Op. 66, 280;
in Sonata No. 10 Op. 70, “Trill,” 279;
Symphony No. 5, Prometheus: Poem of
Fire in Pi major Op. 60 and, 100-101,
280; tonal geometry of, 279
mystic harmony, 278, 278-81
mysticism, 1-2, 11, 115, 183, 200;
aesthetics and, 3, 22, 185; compositional
language and, 7; definition of, 22;
Lapshin on, 3; legacy and, 22; as
pathological, 2, 7; Seventh Sonata and,
46
mystic mode, 275—76
mystic unity, 364nl6
myths: afterlife of Scriabin s music, 126-28;
about children, 347n61; created by
Bowers, 122-26; created by Sabaneev,
116-19, 344nl 1; created by Schloezer,
B., 119-22; about death, 128-29; of
Easter death, 27, 67, 68-69, 117, 124,
130; Prometheus, 3, 12, 98—99
The Naked Carmen, 362nl26
Nápravník, Eduard, 101
nationalism, 27, 37, 160-65, 173
Neapolitan Sixth chords, 255, 267
Nemenova-Lunz, Maria, 43
Nemtin, Alexander, 26, 59, 196
neo-romanticism, in U.S., 191-96
nervousness, 57, 63, 73, 114, 115, 124,
208, 225, 377n2
Nesterov, Mikhail, 178
Neue Sachlichkeit (New Objectivity), 214
Neuhaus, Heinrich, 71, 117, 122
“New Complexity” movement, 320
New Deal, 189
Newman, Ernest, 192
Newmarch, Rosa, 128, 274, 371n48
New Objectivity. See Neue Sachlichkeit
The New Scriabin: Enigma and Answers
(Bowers), 195
New York Philharmonic, 85, 88, 102, 106,
143, 184
New York University, 139
Nexus: Book Three of the Rosary Crucifixion
(Miller), 94, 341n45
nicknamed chords, 256—58
Nietzsche, Friedrich, 3, 8, 18, 115;
Dionysian principle and, 20, 93;
influence on Scriabin, 20, 200,
210; mystical anarchy, 210, 212;
philosophical theories of, 20, 83, 93,
210, 212; Symphony No. 1 in E major
Op. 26 and, 83; Symphony No. 4,
Poéme de VExtase {Poem of Ecstasy) in C
major Op. 54 and, 93; on synaesthesia,
5
Nietzsches Orphans: Music, Metaphysics,
and the Twilight of the Russian Empire
(Mitchell, R.), 118
Night of the Eagle (Leiber), 49
Nikisch, Arthur, 88, 106-7
Ninth Symphony, “Chorale” (Beethoven),
37, 75, 82, 184-85, 332n45
Index
409
“Nobody Knows rhe Trouble IVe Seen/’
86
Nocturne for left hand alone Op. 9 No. 2,
34-35, 183, 219, 365n2, 365n6
Nocturne Op. 5, 16
Nonken, Marilyn, 146, 303
Norton, Eliot, 162
notation, 208, 300, 301, 307, 315, 323
Le Nozze di Figaro (Mozart), 36
Nuages (Debussy), 82
numbers, 25, 180
oberek, 51
occult associations, 21—22, 49, 67—68, 165,
199, 331nl7
occult lore, 22, 197
octatonicism, octatonic scale, 45, 46, 167,
257, 269—73y 278; dissonance and, 273;
in Étrangeté Op. 63 No. 2, 273; mystic
chord and, 273, 371n42; in Poème
Op. 69 No. 2, 273; in Poème Op. 71
No. 1, 273; in Poème Op. 71 No. 2,
273; Rimsky-Korsakov and, 270, 272,
371n39; in Sonata No. 6 Op. 62, 273,
371n42; in Sonata No. 7 Op. 64 “White
Mass,” 273, 371n42; in Sonata No. 9
Op. 68 “Black Mass,” 273; whole-tone
scale and, 272
octaves, 216
“Ode to Joy” (Beethoven), 82
“Oeaohoo,” 99
Ogdon, John, 70, 346n58
Ohlssohn, Garrick, 80
Olcott, Henry Steel, 23
Old Guard of New York music critics, 142,
185, 188
On Piano Playing: Motion» Sound and
Expression (Sandor), 225
open fifths, 254
“open” work, 180
orchestration, 75-76, 86, 339n3; of
Symphony No. 4, Poème de PExtase
{Poem of Ecstasy) in C major Op. 54, 94;
of Symphony No. 5, Prometheus: Poem of
Fire in Pi, major Op. 60, 99—101
Orga, Ates, 158
ornamentation, 377n9
Ornstein, Leo, 50
Orthodox chant melodies, 27, 128, 166
Orthodox Church, 168
Ortmann, Otto, 133
Ossovsky, Alexander, 102
Other, 329n22
overtones, overtone series, 138, 219—20,
274-76, 372n50
Oxford University Orchestra, 145
Ozawa, Seiji, 143
Paganini, Niccolò, 170
Pakenham, Compton, 190
Paperno, Dmitri, 71
Paradise Lost y 148
Paris Academy of Music, 120
passion, 289
Pasternak, Alexander, 282, 284
Pasternak, Boris, 1, 71, 89, 286
Pasternak family, 286
patriotism, 160—61
Pavchinsky, Sergei, 90
Peacock, Kenneth, 139
pedaled resonances, 299—305
pedal techniques, 369n5; breathing
metaphor for, 302, 376n48, 377n7;
damper, 220; dissonance and, 302;
dynamics and, 303; editors notation
of, 301; in Etude Op. 2 No. 1, 300,
301; fluttering, 302-3, 376n50; French,
376n52; of Liszt, 305, 376n48; mist,
300; notation of, 300; pinpoint, 300;
in Poème Étrangeté Op. 63 No. 2,
303; in Poème Op. 32 No. 1, 303;
in Prelude for left hand alone Op. 9
No. 1, 376n50; quarter, half, and full,
305; sanitary, 300; of Sonata No. 3 in
F# minor Op. 23, 301-2; in Sonata
No. 9 Op. 68 “Black Mass,” 303, 304;
trills and, 303, 376n51; vibrating, 300;
virtuosity of, 300
penmanship, 246, 368nl3
Pentatone, 85
perfectionism, 325
performance, 214, 241-42, 307, 308, 309,
320
performance art, 180
410
Index
The Performing Style of Alexander Scriabin
(Leikin), 307
Perle, George, 277, 337n68
personality, 13, 113, 123, 246, 364nl8
Peshchera (The Cave) (Zamyatin), 63
Petrograd Scriabin Society, 330n6
Petrushka (Stravinsky), 160, 163, 167, 214
Philadelphia Orchestra, 92-93, 110, 186,
192, 199
philosophy: beliefs, 31; criticism of
Scriabin for his interest in, 3; German,
258; influences on Scriabin, 3-4, 6,
18-20, 25, 184, 356n81; music and, 6;
Mysterium and, 200; poeme form and,
18; Symphony No. 1 in E major Op.
26 and, 83, 85; Symphony No. 3 in C
minor Op. 43, Le Divin Poeme (Divine
Poem) and, 19, 90, 185; Symphony
No. 4, Poeme de TExtase {Poem of
Ecstasy) in C major Op. 54 and, 19,
93; Symphony No. 5, Prometheus:
Poem of Fire in T§ major Op. 60 and,
19; synaesthesia and, 351n63. See also
mysticism
phrase structures, phrasing, 309-11,
378n21
physical demands, 68
pianism, 73, 222, 286, 296, 373n4,
374nl4
Pianism as Art (Feinberg), 73, 300
pianists, 68—73, 215-17
piano (instrument), 33; Bechstein, 375n38;
construction of, 305; dynamics of, 296,
375n39; hammers of, 296, 375n39;
manufacturing of, 296; resonance of,
305; timbre of, 282; tuning, 371n49
Piano Concerto in F# minor Op. 20, 39,
340nl4, 368n4; Brahms and, 77;
Chopin and, 78; compositional principle
in, 77-78; counterpoint in, 247, 248;
criticism of, 340nl4; dance music, dance
rhythms in, 78; expression markings of,
78; harmony in, 253, 253; Koussevitzky
performing, 107; legacy and, 76; light
in, 294; opening movement of, 264;
premieres of, 76, 80; Prokofiev, S., on,
80; recordings of, 80; Rimsky-Korsakov
and, 77, 379n30; themes of, 78; triple
meters in, 78; use of registers in, 295;
variations of, 78, 79 whole-tone sounds
in, 265
Piano Concerto No. 2 in Bi» major
(Brahms), 77
Piano Concerto No. 2 in C minor Op. 18
(Rachmaninov), 170
Piano Concerto No. 21 in C minor, K. 491
(final mvt.) (Mozart), 78
piano rolls, 366nl3, 376n46; dynamics and,
308; imitation of, 309; performance
style and, 308; recordings, 284, 286,
308, 309, 377nl5; technology, 300;
transcriptions of, 307-9; Welte-Mignon,
56, 60
piano sonatas. See sonatas
Picture of Dorian Gray (Wilde), 68
Pictures at an Exhibition (Mussorgsky), 166,
170
pinpoint pedal techniques, 300
Planck, Max, 135
Plato, 174-75, 203, ЗбЗпІЗІ
playing style, 220, 282, 374n23
pleasure, 92, 93-94
Plekhanov, Georgi, 160
pie roma. See mystic chord
Pletnev, Mikhail, 85
Podgaetsky, Alexei, 48
Poe, Edgar Allen, 169
poème, philosophy and form of, 18
Poème ailé O p. 51 No. 3, 212
Poème fantasque Op. 45 No. 2, 261
Poème-Nocturne Op. 61, 65-67
Poème Op. 32: No. 1, 53, 210, 262, 285,
303, 325; No. 2, 225, 262, 289; No.
5, 53
Poème Op. 52, No. 1, 264, 319
Poème Op. 59 No. 1, 220, 365n8
Poème Op. 69, 242, 273, 287, 294
Poème Op. 71, 242, 273
Poème satanique Op. 36 {Satanic Poem), 17,
49, 65-66, 69, 183, 261, 289
Poème symphonique in D minor, 70
Poème tragique Op. 34, 18, 225, 289,
375n31
Poem of Ecstasy (poem), 21, 94
Index
411
Poem of Ecstasy (symphony). See Symphony
No. 4, Poème de l’Extase in C major Op.
54
poetic expression marks in Scriabins music.
See character indications
Poetics of Music: In the Form of Six Lessons
(Stravinsky), 109, 343n79
poetry, 18, 22, 64, 149, 166, 180
Poland, 51
polyphony, 84, 247, 375n25
polyrhythms, 56—57, 289, 316, 378n24;
conceptualizing, 322, 378n28;
development, 216—17; in Etude Op.
42, 320—21; execution of, 218; in
Impromptu à la Mazur in Fjt Op. 7 No.
2, 320; in Impromptu Op. 7 No. 2,
321 ; performance style and, 320; in
Poème Op. 52 No. 1, 320; in Prelude
Op. 11, 322; in Sonata No. 10 Op. 70,
“Trill,” 322; in Vers la Flamme Op. 72
( Toward the Flame), 322
Ponti, Michael, 66, 72-73
pop culture, 123, 195
popularity, 195, 196; after death, 126; in
England, 126, 127; Stravinsky s jealousy
of, 346n57; unpopularity after death,
19, 27-32, 189-91
portv (transporting burst), 152, 314, 316
portato chords, 149, 150, 154, 154
Portsmouth Point, 30
posthumous reputation, 19, 27—32
posture, 374n23
Powell, Jonathan, ix, 51, 242
powers of persuasion, 344nl4
Po zvezdam (By the Stars) (Ivanov), 176
Prefatory Act. See Acte préalable
Prélude à l’après-midi d’un faune (Debussy),
82
Prelude for left hand alone Op. 9 No. 1,
219, 369n6, 376n50
Prelude in Q minor Op. 3 No. 2
(Rachmaninov), 171
Prelude Ondine (Debussy), 277
Prelude Op. 10 No. 2, 366nl3
Preludes Op. 11, 81; Chopin and, 378n24;
No. 1, 60, 172, 209, 220-21, 254, 316,
323; No. 2, 60, 255, 324, 366nl0; No.
3, 216; No. 4, 60-61, 252-53, 253;
No. 7, 61, 221; No. 8, 220; No. 10,
309, 310, 311, 316; No. 11, 61, 221,
229, 230, 290, 316; No. 12, 254; No.
14, 61, 316, 319, 325, 379n37; No. 16,
61, 254, 264, 265, 319; No. 18, 61,
379n37; No. 19, 61, 221, 369n6; No.
20, 61, 221; No. 23, 61, 216; No. 24,
61, 221, 319, 379n37; polyrhythms in,
322; Rachmaninov and, 60; recordings
of, 61; rhythms in, 319, 323; writing
of, 60
Preludes Op. 13, 60, 81; No. 1, 172, 259,
260, 368n4; No. 2, 216, 254, 379n37;
No. 4, 379n37; No. 5, 231; No. 6, 221
Preludes Op. 15, 60, 81, 216, 255
Preludes Op. 16, 60, 81, 221, 239, 254,
254, 368n4
Preludes Op. 17, 60, 81, 227, 233, 253,
316,379n37
Preludes Op. 22, 232, 239, 325, 368n4
Prelude Op. 27 No. 1, 232, 247, 259, 260
Preludes Op. 28 (Chopin), 35, 59, 60, 61,
78-79, 79
Prelude Op. 33 No. 4, 319
Prelude Op. 35 No. 2, 253
Preludes Op. 37, 57, 172, 216, 222, 223,
225, 259, 260, 262
Preludes Op. 39, 216, 253, 294
Prelude Op. 45, No. 3, 378n20
Preludes Op. 48, 62
Prelude Op. 51 No. 2, 222, 223, 294
Prelude Op. 52 No. 1, 266
Prelude Op. 56, No. 4, 379n37
Prelude Op. 59, No. 2, 62, 313, 314,
378nl7, 379n37
Preludes Op. 67, 222, 223, 319, 365n6
Preludes Op. 74, 18, 62-64, 165-66, 195,
239, 251, 379n33
preludes, definition of, 59
Les Préludes (Liszt), 64
Preparation for the Final Mystery, 26
primitivism, 200
Prince Igor (Borodin), 169
Le Printemps (The Spring), 64
412
Index
Prokofiev, Grigorii, 69, 306, 368nl4
Prokofiev, Sergei, 34, 37, 76, 80, 97, 213;
as musical antithesis to Scriabin, 28; on
Piano Concerto in F# minor Op. 20,
80; Scythian Suite, 117; sonatas of, 38,
369n9; Toccata Op. 11,214
Promenade Concerts, 88
“Prometheus” (Liszt), 98
Prometheus-2, 143
Prometheus Institute in Kazan, 140, 143
Prometheus myth, 3, 12, 98—99
psychedelica, in U.S., 199-203
psychology, 23
public perception, 114, 115, 158, 194
public persecutions, 28
Puccini, Giacomo, 241
Pushkin, Alexander Sergeevich, 347n6l
“Quartet Fridays,” 75
quater pedal technique, 305
Queens Hall Orchestra, 93
quintuplets, 316, 378n24
Rachmaninov, Sergei, 44, 56, 66, 76; bells
and, 168-69, 170; The Bells Op. 35,
169; C# minor Prelude, 34; depression
of, 124; memorial tour after Scriabins
death, 68—69, 126; nationalism and,
163; Piano Concerto No. 2 in C minor
Op. 18, 124, 170; Prelude in C# minor
Op. 3 No. 2, 171; Prelude Op. 11 and,
60; preludes of, 60; Romanticism of,
213; Sonata in D minor Op. 28, 37;
Symphony No. 5, Prometheus: Poem
of Fire in Fh major Op. 60 and, 286;
synaesthesia and, 134-35
ragtime, 53
Rameau, Jean Philippe, 59, 256-57
Randlett, Samuel, 173, 221-22, 282,
288
RAPM (Russian Association of Proletarian
Musicians), 28
Rau, Santha Rama, 125
Ravel, Maurice, 214, 354n48, 366n20
realism, 28, 164
reception, 27-32, 29, 92-93, 199, 332n45
recital pieces, 216
record companies, 204
recordings. See specific works
redistribution of parts between the hands,
222, 233, 234, 367nn23-24
registers, use of, 293, 293—96, 295
Reise, Jay, 220, 277-78
The Relation of the Ultramodern to Archaic
Music (Heyman), 48
religion, 11, 20-21, 23, 25, 177
Réminiscences de Don Juan (Liszt), 20, 218
Reminiscences of Scriabin. See Vospominaniia
o Skriabine
remote contexts, 329n28
remote keys, 336n51
repeated chords, 288-89, 320, 333n6
repeated-note arpeggios, 333n6
repetition, 76, 166
The Republic (Plato), 174-75
reputation, 182—83, 189, 191, 214
resolutions, 264
resonance, 223
resonance, pedaled, 299—305
resonant stratigraphy, 305
Reverie in E major Op. 24, 80-82
Reverie at Music Hall, 183
reviews. See criticism
Rhein, John von, 110
rhetoric, music and, 84—85
rhythmic declamation, 378nl6
rhythmic dislocation, 317, 318
rhythmic language, 11, 316
rhythms: breathing, 377n7; changing
meters, 319; characteristic, 306, 317,
319; of Chopin, 306-7, 377n4, 377n6;
composing outside the box, 316—20;
dance music, dance rhythms, 76, 78,
85, 162, 320; distortion of, 377n6;
dotted, 79, 312-14, 314, 316; in Etudes
Op. 42, 56-57, 320-21; flexibility of,
306, 309; floating, 266 in mazurka,
51; in Mazurka Op. 25 No. 4, 318,
318—19; metric ambiguity, 317; motives
and, 317; notation of, 307, 316, 323;
ornamentation, 377n9; pacing, 318;
placement, 222; in Poème Op. 52 No.
1, 319; in Prelude Op. 11, 319, 323
in Prelude Op. 33, 319; in Prelude Op.
Index
413
67, 319; sense of, 306; in Sonata No.
1 in F minor Op. 6, 317-18, 378n25;
in Sonata No. 6 Op. 62, 319—20; in
Sonata No. 7 Op. 64 “White Mass,”
320, 378n26; in Sonata No. 8 Op. 66,
319; in Sonata No. 9 Op. 68 “Black
Mass,” 243-44, 320; in Sonata No. 10
Op. 70, “Trill,” 319—20; speech and,
32; of Stravinsky, 319; subdivisions
of beat, 320—22; in Symphony No. 5,
Prometheus: Poem of Fire in Fh major Op.
60, 319; triplet, quintuplet, 62, 368n9.
See also fanfares; polyrhythm; tempo;
tempo rubato
Richter, Sviatoslav, 44, 63, 71, 73, 133,
164, 208, 252, 379n37
right hand passagework, 216
Rimsky-Korsakov, Nikolai, 55, 75, 81, 86,
339n6; Flight of the Bumblebee, 152;
Korsakovskaya gamma, 167; The Legend
of the Invisible City ofKitezh and the
Maiden Fevroniya, 169; octatonicism,
octatonic scale, 270, 272, 371 n39; Piano
Concerto in F| minor Op. 20 and, 77,
379n30; Sadkoy 159—60; synaesthesia
and, 134-35
Rite of Spring (Stravinsky), 50, 167, 319,
342n71, 364nl5
Rochester Philharmonic, 105
Rodzinski, Artur, 110
rogue figure or outsider, status as, 158—60,
163, 168
rolled chords, 222
Romanov dynasty, 158
Romanovsky, 338n82
Romantic artist, 82, 86, 189, 191, 213
Romantic expression, 216, 241—42
Romanticism, 6, 213, 360n74
Romanric performance style, 309
Romantic revival, 191—93, 195, 204,
360nn74—75; centennial celebrations
and, 196-99
Romantic tradition, 215, 218, 283
rondo form, 79, 319
Roosevelt, Franklin Delano, 189
root movement, 267—68
Rosenfeld, Paul, 29, 188
Rosicrucianism, 180
Roslavetz, Nikolai, 352n9
Rothstein, Edward, 142
Royal College of Music, 70
Royal Philharmonic Society, 85
Rubinstein, Anton, 37, 76, 143, 179, 290,
299, 339
Rudhyar, Dane, 287
Russell, Ken, 331 nl7
Russian Association of Proletarian
Musicians. See RAPM
Russian chant, 7, 319
Russian church, 254
Russian heritage, 289—92
Russian intonation theory. See intonatsiia
Russian music, 158; bells in, 168—73,
354n48; characteristics of, 165; emblems
of, 165—68; emotion and, 165; folk
music traditions of, 11, 51, 160, 165,
275, 319; harmony in, 166—67; history,
330n6; musical traditions of, 72, 160,
256, 273, 294; nationalism in, 160-65;
quintessential traits of, 165, 167,
168, 170, 173; scales in, 167; stylistic
qualities of, 4
Russian musical traits, lack of, 37, 165
Russian Orthodox Church, 20, 180
Russian Piano School, 71
Russian Revolution, 27, 63, 102, 126, 128,
143, 169, 177
Russian style, 162—65
Russian Symphony Orchestra Society, 85,
92, 97, 98, 102, 184, 185
Russian tradition, 256
Ryndamy 184
Sabaneev, Leonid, 15, 45, 49, 121, 347n61,
354n55 364nl8; career as music critic,
117; disillusionment with Scriabinism,
118, 119; education of, 116; Mysterium
andy 118; mystic chord and, 116, 119,
273, 274, 276, 372n53, 372n63; myths
created by, 116—19, 344nll; Schloezer,
B., feud with, 120; Scriabin letter to,
58; Symphony No. 5, Brometheus: Poem
of Fire in Ij major Op. 60 and, 344nl 1;
view of Scriabin as deranged, 118, 119
414
Index
Sacks» Oliver, 134
Sadasky, Vassily, 110
Sadko (Rimsky-Korsakov), 159—60
Safonov, Maria, 31
Safonov, Vasily, 75, 80, 85, 88, 89, 102,
184, 283, 299
Samson, Jim, 276
Samuel, Claude, 138
Sandor, Gyorgy, 225
sanitary pedal techniques, 300
Satan, 98, 186, 212
Satanic Poem. See Poeme satanique Op. 36
Satie, Erik, 210, 213
Sayn-Wittgenstein, Carolyne, 40
Scarlatti, Domenico, 36
Schenker, Heinrich, 257
Schiller, Friedrich, 82
Schloezer, Boris, 2, 19-20, 24, 30, 119-22,
330nll, 345n27
Schloezer, Pavel, 89
Schloezer, Tatyana (mistress and common
law wife), 40, 69, 89, 327nl, 334nl5,
345n27; children with, 121, 347n61;
letter to Lunz, 43; living with, 17; in
U.S., 357n23
Schoenberg, Arnold, 26, 73, 161, 208
Schonberg, Harold, 73, 159, 192, 194-95,
197, 199-200, 204
Schools of composers, or “Isms,” 160—62,
180
Schopenhauer, Arthur, 18, 20, 200
Schumann, Clara, 192
Schumann, Robert, 247, 267, 316, 334nl0
Schwab, Charles, 102
Schwann record catalogue, 196
science, 23, 331nl9
scores, 77, 208-9, 228-29
Scriabin, Alexander Nikolaevich. See specific
entries
Scriabin, Nikolai (brother), 130
Scriabin and His Creative Work. See A. N.
Skriabin i ego tvorchestvo
Scriabin: Artist and Mystic. See Skriabin:
Lichnosty Misteriia
Scriabin Association, 338n80
Scriabin Circle, 188
Scriabin for Neuroscientists: A Study in Syn-
Aesthetics (Triarhou), 351n63
“Scriabin in the Himalayas,” xi, xvii
Scriabin Museum, 2, 196, 200, 307
Scriabin sixth chord, 258-61, 260, 370n34
Scriabin Society, 119, 178
Scriabin Society of America, 330n4, 334nl 1
Scriabin sound, 282, 283-85, 299-300
Scriabin: The Great Russian Tone Poet
(Mitchell, E.), 70
Scythian Suite (Prokofiev, S.)» 117
The Sea. See La Mer
Second Symphony, “Resurrection” (Mahler),
82
Second Viennese School, 161
The Secret Doctrine (Blavatsky), 99, 122
Seeger, Ruth Crawford, 187-88, 258n32
Sekerina, Natalya, 39, 334nl3
self-aggrandizement, 114, 183, 190
semitonal scale, 337n68
Semkow, Georg, 88, 340n33
sensuality, 92
sentimentality, 241
serialism, 246, 277
Serpinskaia, Nina, 176-77
Seven Arts, 29
sexual freedom, 93-94
sexuality, 20, 92, 115, 123; creativity and,
212; eroticism, 42, 68, 165, 176, 195-
96, 261, 368nl2; spirituality and, 22
sexual orientation, 125
Shapira, Elyakum, 144
sharpened fifths, 167
Shchetinina-Scriabina, Lyubov Petrovna
(mother), 16, 290
sheet music, 207
Shoesmith, Thomas, 145
Shostakovich, Dmitri, 76
silence, 45
Silver Age of Russian culture, 5, 174, 177,
365n7
Sim, Annie, 335n46
single-movement sonatas, 37-38
Sisman, Elaine, 85
Sitsky, Larry, 164
Index
415
Les Six, 213
Sixth Symphony, “Pastorale” (Beethoven),
87,148
Skriabin (Sabaneev), 116
Skriabina, Lyubov, 87
Skriabina, Vera Isakovich (wife), 17, 39,
40, 56, 65-66, 77, 86, 88-89, 331nl7,
334nl5
Skriabin: Lichnost, Misteriia (Schloezer),
19-20, 121, 330nll
Skryabin (Macdonald), 182
Skryabin, Philosophy and the Music of Desire
(Smith, K.), 262
skyscraper chord, 293
Slonimsky, Nicolas, 19-20, 342n71,
345m27
small time, 329n28
Smith, Kenneth M., 262
Smith, Moses, 342n
Socialist Realism, 162
Sofronitsky, Vladimir, 29, 70-71, 117, 173,
325-26, 338n86
Sokolov, Nikolai, 189
solo concertos, 76
Solovyov, Vladimir, 175
Somer, Hilde, 72, 145, 147, 197, 198,
201-2
Somov, Konstantin, 178
Sonata-Fantasie (No. 2) in G# minor Op.
19, 36, 39-40, 69, 208-9, 233, 294,
334nl3; color in, 297; fanfares in, 312,
313; tempo in, 325
Sonata in D minor Op. 28 (Rachmaninov),
37
Sonata No. 1 in F minor Op. 6, 221, 223,
224, 225, 368n4, 369n9; augmented
sixths in, 255; bells in, 38, 171, 172;
chorale textures in, 294; chords of, 223,
224, 225; opening movement of, 240,
24O, recordings of, 39; rhythms in,
317-18, 378n25
Sonata No. 2 in Bb minor (Chopin),
20
Sonata No. 3 in F# minor Op. 23, 35, 53,
184, 240-41, 334nl5; bells in, 171-72;
chordal distribution in, 232; fanfares
in, 312, 313; hands in, 229, 231; pedal
techniques of, 301—2; recordings of, 40,
41; tempo in, 325; use of registers in,
296-97
Sonata No. 4 in Fg major Op. 30, 21,
41-43, 45, 56, 89, 338n82; chords
of, 366nl 5; climactic ending of, 289;
counterpoint in, 246; light in, 149,
150; poem as inspiration for, 149, 258;
portato chords in, 149, 150; tempo in,
325; trills in, 211, 211; Tristan chord in,
259, 260
Sonata No. 5 in F# major Op. 53, 41, 45,
56, 69, 73, 227, 228, 334n21, 367n24;
bells in, 172; character indications
in, 210; climactic ending of, 289;
dominant function in, 268-69, 270—72;
dynamics in, 286-87; recordings of,
44; Symphony No. 4, Poeme de VExtase
{Poem of Ecstasy) in C major Op. 54 and,
43-44; tempo in, 325
Sonata No. 6 Op. 62, 22, 36, 44-45,
65, 66; bells in, 172, 173; character
indications in, 299; Coda of, 294; color
in, 299; counterpoint in, 249, 368nl 9;
dynamics of, 288; harmony of, 252;
light in, 152; melody of, 244, 245;
octatonicism, octatonic scale in, 273,
371n42; rhythms in, 319-20; tonal
layering in, 291, 292; trills in, 152,
237
Sonata No. 7 Op. 64 “White Mass,” 38, 62,
234, 367n24; bells in, 173; character
indications in, 151, 151; color in, 298,
298; fanfares of, 289, 312; light in,
151, 151-52; melody of, 244; mystic
chord and, 46, 47, 280; octatonicism,
octatonic scale in, 273, 371 n42;
recordings of, 47; rhythms in, 320,
378n26; as serialism, 277; Sonata No. 9
Op. 68 “Black Mass” and, 46, 48; tonal
layering in, 290, 292, 375n34; use of
registers in, 293
Sonata No. 8 Op. 66, 47-48, 49, 234, 279;
Coda of, 294; counterpoint in, 249,
249; melody of, 244; mystic chord in,
416
Index
280; recordings of, 48; rhythms in, 319;
tonal layering in, 290, 291; trills in, 237
Sonata No. 9 Op. 68 “Black Mass,” 17,
41, 46-47, 65, 67, 73, 195; character
indications in, 209; Crowley and,
331 nl7; distribution of hands in, 234,
235 236; Horowitz and, 50, 72, 324;
Hull, A., on, 49; Leiber and, 49; light
in, 152, 153; nickname of, 48; occult
associations and, 22, 49; octatonicism,
octatonic scale in, 273; opening four-
note motto of, 49; pedal techniques in,
303, 304; premiere of, 48; recordings of,
50; rhythm in, 243—44, 320; Sonata No,
7 Op. 64, “White Mass” and, 46, 48;
trills in, 152, 153y 237
Sonata No. 10 Op. 70, “Trill,” 36, 47, 48,
50—51, 337n74; character indications
of, 210; climactic ending of, 289;
counterpoint in, 249—50, 250՝, Horowitz
and, 238; light in, 152-53, 153-54,
294; mystic chord in, 279; perfect
fourths in, 276; polyrhythms in, 322;
recordings of, 51; rhythms in, 319-20;
tremolos in, 294; trills in, 237; wrist
technique in, 225, 226
sonatas, 20, 335n29; design, 243; form, 38,
45, 327n6, 378n21; history of, 36-38;
key signatures and, 48; legacy and, 33;
of Prokofiev, S., 38; rash of sonatas after
1903; in Russian music, 37; Scriabins
contribution to, 29, 33, 36; single-
movement, 37-38; three-part, 37
“Sons of the Flames of Wisdom,” 99
Un Sospiro Concert Etude (Liszt), 234, 236
sound quality, 291. See also touch
Sovremennye zapiskiy 163
spatial relationships, 227
Spectralism, 146
The Spectral Piano: From Liszt, Scriabin,
and Debussy to the Digital Age (Nonken),
146,303
speech, 9, 52
spirituality, 7, 22, 188, 199, 281
The Spring. See Le Printemps
Sputnik, 140
stacked chords, 222
stagnancy in the standard repertory, 191,
194
Stalin, Josef, 1, 130
Stamitz, Johann, 74-75
Star of David, 99
St. Basils Cathedral, 331 nl7
Steinhart, Alexander Lang, 101
stereo sound, 125
Sterl, Robert, 107, 327nl
stile antico. See high art
Stock, Frederick, 30, 93, 101, 103, 106,
187
Stokowski, Leopold, 92—93; championing
of Scriabin s music, 30, 186; defense of
Scriabins music, 103—5; recordings of,
190; reputation of, 103; Symphony No.
4, Poeme de TExtase (Poem of Ecstasy)
in C major Op. 54 and, 103-5, 104,
186-87
stolen time (rubato), 241
St. Petersburg Conservatory, 37, 71, 75, 86
Strauss, Richard, 87, 92, 352nl5
Stravinsky, Igor, 28, 123, 213; Firebird, 109,
165; interest in Scriabins music, 275,
372n50; jealousy of Scriabins popularity,
346n57; mother of, 128-29, 346n57;
nationalism and, 162, 163; Petrushka,
160, 165, 167, 214; Poetics of Music: In
the Form of Six Lessons, 109, 343n79;
rhythms of, 319; Rite of Spring, 50, 167,
319, 342n71,364nl5
The Structure of Musical Speech (Yavorsky),
10
Stuart, Charles, 126
stylistic influences. See influences on musical
style
subdivisions of beat, 320-22
subjectivism, 28
Sudbin, Yevgeny, 80
Supreme Being, 11
Survey of Contemporary Music (Gray), 183
Swan, Alfred, 30, 128, 164, 333n8
Symbolism, 2, 6, 7; aesthetic tenets of,
174-76, 179-80; apocalyptic, 175, 177;
history of, 174, 175, 180; influence of,
24, 121, 180; intonatsiia and, 10; Ivanov
and, 174—78; Masonic, 23; Morozova
Index
417
and, 89; music and, 20, 181; mystery
plays of, 200; poetry of, 22, 64, 141,
152, 174, 175, 179, 180, 354n55; ponv,
152; synesthesia and, 5; tradition, 180,
181; in visual arts, 50, 175, 176, 178,
179—80. See also specific artists
symbols, 2, 3, 23; Devil, as artistic, 65—66,
178-79
Symphonic Allegro in D minor, 75, 90
Symphonie fantastique (Berlioz), 49, 87, 92
symphonies, 74-76
Symphonies (Bely), 64
Symphony No. 1 in C minor Op. 68
(Brahms), 75
Symphony No. 1 in E major Op. 26, 21,
82-85, 90, 102, 184-85, 247
Symphony No. 2 in C minor Op. 29, 56,
85-88, 87, 102
Symphony No. 3 in C minor Op. 43, Le
Divin Poème (Divine Poem), 42, 56,
57, 59, 110; Altschuler and, 92-93;
criticism of, 90, 92, 185—86; expression
marks of, 90; Glinka Prize for, 90;
harmony of, 91; length of, 89; light in,
149; “Luttes,” 91, 92; opening motto,
90, 91, 92; Pasternak, B., on, 89—90;
philosophy and, 19, 90, 185; premieres
of, 18, 29, 88, 92—93, 102; reception of,
92-93; recordings of. 93; Scriabin sixth
in, 260, 260; Stock annual performance
of, 93, 103; title of, 18, 64; Tristan und
Isolde and, 90; words and text of, 90
Symphony No. 4, Poème de VExtase (Poem of
Ecstasy) in C major Op. 54, 43-44, 59,
74, 87, 110, 198, 33In 13; Altschuler
and, 94, 97, 186; Boulez and, 199;
Coates performances of, 106, 128, 151,
187; conclusion of, 325; criticism of, 97,
114, 151, 191; “Ego Theme gradually
realizing itself,” 95; eroticism and, 176;
exposition of, 62; expression markings
of, 94; fanfare of, 212; Glinka Prize (2nd
place) for, 97; harmony of, 94, 167;
“Human love,” 96; “Human striving
after the ideal,” 95; Koussevitzky and,
97, 107-8, 187, 191; light in, 150-51;
Maazels performance of, 194; Miller
on, 94, 34ln45; Nietzsche and, 93;
orchestration of, 94; philosophy and, 19,
93; Poem of Ecstasy accompanying poem,
21, 94; premieres of, 18, 93, 97, 102,
186; recordings of, 98; sharpened fifths
in, 167; “Soaring flight of the spirit,”
96; Sonata No. 5 and, 43—44; Stokowski
and, 103—5, 104, 186-87; Taneyev on,
97; tension in, 264, 267; themes, 94,
95—96; title of, 64, 94; “Will to rise up,”
96
Symphony No. 5, Prometheus: Poem of Eire
in major Op. 60, 64, 66, 341n55;
Altschuler and, 142, 155; with colored
lights, 131-36, 132, 140-47, 155, 195,
349n38, 350n39; cover illustration for
score of, 100; criticism of, 101, 114,
142, 143; Delville and, 99, 100; double
performances of, 105; Dover score of,
347n7; fanfare of, 212; forgotten score
of, 140; harmony in, 50, 100—101;
Ivanov and, 177; light in, 50, 294;
mystic chord and, 100—101, 280;
Newmarch program notes for, 128;
“oohs” and “aahs” as methaphors in,
12; orchestration of, 99—101;
philosophy and, 19; premieres of, 29,
101, 102, 103, 131, 232, 133, 140-41,
142; Rachmaninov and, 286; recordings
of, 101, 196; rhythms in, 319;
Sabaneev and, 344nl I; story of, 98;
synaesthesia and, 139—41; Theosophy
and, 23, 25, 98-99, 105, 145, 186;
tonal plan of, 139; trills in, 237; Wood
and, 105; Yale University, performances
with color lights, 140, 144, 195,
350n39
synaesthesia, 182; aesthetics and, 351n63;
associative, 140; color thinking, 138;
color-tonal correspondences, 136,
347n7; criticism of Scriabin s claims,
133, 136, 140; definition of, 5, 140;
discovery and debate about, 134—37;
Doctrine of Affections and, 134; history
of, 134—37, 141; key signatures and,
136, 138, 221, 347n7, 348nl5; laws of,
135; legacy and, 131, 137; literature on
418
Index
Scriabins, 137-41; manifestations of,
344nll; neurology and, 136, 351n63;
Nietzsche on, 5; people endowed
with, 134; philosophy and, 351n63;
Rachmaninov and, 134-35; Rimsky-
Korsakov and, 134—35; stimuli of,
133-34; Symbolism and, 5; Symphony
No. 5, Prometheus: Poem of Fire in F$
major Op. 60 and, 139-41; as universal
and innate, 135
synchronic point of view, 159
Synesthesia: A Union of the Senses (Cytowik),
137
Szidon, Roberto, 38, 39, 44, 51, 361nn98-
99
Szigeti, Joseph, 56
Szymanowski, Karol, 336n53
“The Tale of Tsar Saltan,” 347n6l
Taneyev, Sergei, 75, 97, 166, 246, 249
Taruskin, Richard, 64, 161-62, 166, 174,
262, 264, 352nl2, 352nl5
tastiera per luce (color organ), 99, 142-43,
149, 155-56, 157, 186, 348n22
Tchaikovsky, Piotr, 37, 76, 97, 127,
163
Tchaikovsky, V., 256, 369n8
Tchaikovsky Competition, 70
teachers, 215-17
technical challenges, 51, 54, 55, 57, 62,
156, 217, 222, 233, 236, 290-91, 309,
326
technique development, 216
technology, 143, 147, 156, 33In 19
tempo: acceleration of, 308, 314, 317, 325,
377nl5; choices of Horowitz, 50, 324;
flexibility of, 242; flow of, 310; graphs,
307; lingering, 308, 367n6; metronome
markings, 322, 324; speed, 379n37
tempo rubato, 86; arrhythmia, 306-7,
317, 378n24; compared to Chopin,
306—7; definition of, 241; Feinberg and,
309; Horowitz and, 242; phrasing and
analysis, 309—11; in Scriabins piano
rolls, 241; tempo graphs, 307
tenutos, 77, 253
textural layering. See tonal layering
thematic transformation, 244, 245* 246
Theory of Relativity, 135
Theosophical Society, 23, 187, 345n35
Theosophy, 182, 200; Adams and,
358n37; allure of, 23-24; Besant and,
23; Blavatsky as leader of, 98-99,
142; Bowers and, 24; definition of,
23; influence on Scriabin, 19, 23-25,
98-99, 121-22, 180, 187-88; music
and, 24; numbers and, 25; principles
of, 345n35; Schloezer, B., on, 121—22;
Symphony No. 5, Prometheus: Poem of
Fire in Ц major Op. 60 and, 23, 25,
98-99, 105, 145, 186
Third Symphony (Mahler), 87
Third Symphony, “Eroica” (Beethoven), 98
This is Your Brain on Music: The Science of a
Human Obsession (Levitin), 137
Thomas, Gareth, 182
three-movement design, 74
three-part sonatas, 37
thumb crossings, 231, 366n22
Thus Spoke Zarathustra (Nietzsche), 20
timbre, 69, 169, 179, 282, 293, 329n22
timing, 221, 244
Tingley, Katherine, 23
Tipton, Jennifer, 145-46, 155
Tircuit, Heuwell, 196
Titan, 98, 99
Toccata Op. 11 (Prokofiev, S.), 214
Tommasini, Anthony, 146
Tompakova, Olga, 182
tonal attraction, 9-10
tonal balance, 232. See also voicing
tonality, harmony and, 370n32
tonal layering, 289-92, 375n34
tonal planning, 267-68
tonal structure, 257
tone: color, 50, 69, 344nll; crystalline, 66,
337n74; overtones, overtone series, 138,
219-20, 274-76, 372n50; poems, 64,
97; quality, 68
topics, or topoi, 84—85, 211
Toscanini, Arturo, 113
touch, qualities of, 285—88
“Toward a Methodology for the Human
Sciences,” 329n28
Index
419
Toward the Flame. See Vers la Flamme Op. 72
Townsend, Justin, 140, 141, 144, 344nll,
348n21
transcendence, 2, 30, 93, 257, 273, 279;
ecstasy and, 175—76; ego and, 95; music
and, 20; Symphony No. 1 in E major
Op. 26 and, 85
Transcendental Etudes (Liszt), 55, 218
transcriptions, of piano rolls, 307—9
transfiguration of man, 11
transporting burst. See poriv
treble clef, in left hand, 365n8
tremolos, 81, 154, 237, 289, 294
Triarhou, Lazaros C., 156, 351
trills, 45, 81, 218, 288, 320; Beethoven
and, 152, 375n29; coioristic use of, 236,
237, 238; fingering of, 236-38; hands
technique for, 237; as luminosity, 45,
67, 152, 153-54, 212; meaning of, 50,
152; non-standard techniques in, 237;
pedal techniques and, 303, 376n51; in
Seventh Sonata, 47; in Sonata No. 4 in
F|t major Op. 30, 211, 211; in Sonata
No. 6 Op. 62, 152, 237; in Sonata No.
8 Op. 66, 237; in Sonata No. 9 Op.
68 “Black Mass,” 152, 153, 237; in
Sonata No. 10 Op. 70, “Trill,” 237; in
Symphony No. 5, Prometheus: Poem of
Fire in major Op. 60, 237; technical
skills required for, 236—37
triple meters, 76, 78, 243, 319
triplets, 313, 316
Tristan chord, 258—61, 259 370nl8,
370n20
Tristan undIsolde (Wagner), 90, 255, 258,
259, 34ln38
tritone interval, 256, 267, 273, 369nl2
Trubetskoi, Sergei, 21
Tsar Kolokol, 168
Tushinski, Jim, 44
“Two Cases of Synaesthesia,” 137—38
una corda pedal, 296—97, 298
unification theory, 12
United Stares (U.S.), 31, 183—87,
191-96, 199-203, 357n23. See also
counterculture, American
unity (edinstvo), 200, 244, 257, 279,
368nl0
Universe Symphony (Ives), 26, 281
University of Brussels, 120
University of Iowa, 105, 144
unpopularity after death, 19, 27-32,
189-91
urban romance style. See bytovoi
romans
use of fourths, 22, 42, 46, 48, 55, 65,
187-88, 234
Ushakoff, Alex, 144
Valse Op. 1,16
Van Allens Ecstasy (Tushinski), 44
Van der Stucken, Frank, 81, 183
Vanechkina, Irina, 140
Vedanta, 180
Venok Skriabina, 178
Verbit, Martha Anne, 48, 198
Verdi, Luigi, 369nl7
Verlaine, Paul, 175
Vers la Flamme Op. 72 (Toward the Flame),
49, 65, 67, 195; bells in, 173; Chau and,
338n77; fanfares of, 312; Horowitz and,
72, 155, 337n76; light in, 154, 294;
polyrhythms in, 320; portato chords
in, 154, 154 recordings of, 68; tremolo
chord in, 289; use of registers in, 296
vertical thinking, 256-58
vibrating pedal technique, 300
Victorian Age, 357nl8
Villoing, Alexander, 290
virtuosity, 214, 227, 300, 366n20
vocalism, 165
voglia, 258
voice, 329n22
voice leading, 62, 166, 234, 246-50, 260,
278, 370n23
voicing, 221, 366n22. See also tonal
balance
Volga tour, 80, 107
Vospominaniia o Skriabine (Reminiscences of
Scriabin) (Sabaneev), 45, 49, 116—19,
120-21, 135, 347n61, 354n55
Vrubel, Mikhail, 178-79, 180
Vyshnegradsky, Ivan, 213, 281
420
Index
Wagner, Richard, 92, 211, 348n22;
Gesamtkunstwerk, 25, 177, 183;
harmony of, 18; influence on
Scriabin, 18, 62, 86, 89-91, 260, 289;
nationalism and, 163; Tristan und
Isolde, 90, 255, 258, 259, 341n38; Die
Walküre, 67
walk-arounds, 257, 368n2
Walton, William, 30
Waltz Op. 38, 227
Wang, Yuja, 68
Warlich, Hugo, 97
Weber, Carl Maria von, 92
Webern, Anton, 161
Wednesday is Indigo Blue (Cytowik), 133
Weinbaum, Mark, 343n74
Well-Tempered Clavier, Books I and II
(WTC) (Bach), 59-60, 275, 309
Welte-Mignon piano rolls, 56, 60
Werth, Alexander, 28
Westinghouse, George, 102
“What Makes Music Symphonic,” 76
White, Terrence, 30
White Album (the Beatles), 197
White Light Festival, 145
whole-tone dominant, 263-67, 265—67,
370n34
whole-tone scale, 167, 263, 272, 274, 278
Wieck, Clara, 334nl0
Wilde, Oscar, 68
Williams, Pharrell, 134
Winkler, Alexander, 81
witchcraft, 22
Wittgenstein, Paul, 34, 214
womens liberation, 362nl26
Wonder, Stevie, 134
Wood, Sir Henry J., 29, 80, 88, 93, 101,
105, 142, 349n31
Woodstock Arts and Music Festival, 199
Woolsey Hall, 350n39
The World as Will and Representation
(Schopenhauer), 20
World of Art. See Mir Iskusstva
World War I, 27, 29, 34, 63, 128, 174,
177, 213
World War II, 103
wrist technique, 216, 218, 225—27
writings, 21, 294
WTC. See Well-Tempered Clavier, Books I
and II
Yale University, 140, 144, 195, 350n39
Yavorsky, Boris, 9, 10, 264
Years of Pilgrimage. See Annees de p^lerinage
Young Peoples Concerts, 76
Zamyatin, Evgenvy, 63
Zeltzer, Mark, 71
Zhdanov, Andrei, 28
Zhdanov, Nikolai
Zhdanovschina trials, 28
Zhiliaev, Nikolai, 213
Zhukov, Igor, 72
zov. See fanfares
Zverev, Nikola, 290
zvon, 169
Zweck: A Novel and Mostly Reliable Musical
History (Deutsch), 115
|
| any_adam_object | 1 |
| author | Ballard, Lincoln 1975- Bengtson, Matthew |
| author_GND | (DE-588)1139903462 (DE-588)1139904752 |
| author_facet | Ballard, Lincoln 1975- Bengtson, Matthew |
| author_role | aut aut |
| author_sort | Ballard, Lincoln 1975- |
| author_variant | l b lb m b mb |
| building | Verbundindex |
| bvnumber | BV044429930 |
| callnumber-first | M - Music |
| callnumber-label | ML410 |
| callnumber-raw | ML410.S5988 |
| callnumber-search | ML410.S5988 |
| callnumber-sort | ML 3410 S5988 |
| callnumber-subject | ML - Literature on Music |
| classification_rvk | LP 94770 |
| ctrlnum | (OCoLC)1002238796 (DE-599)BVBBV044429930 |
| dewey-full | 786.2092 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 786 - Keyboard & other instruments |
| dewey-raw | 786.2092 |
| dewey-search | 786.2092 |
| dewey-sort | 3786.2092 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| format | Book |
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| genre_facet | Biografie |
| id | DE-604.BV044429930 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:52:44Z |
| institution | BVB |
| isbn | 9781442232617 |
| language | English |
| lccn | 017011438 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029831345 |
| oclc_num | 1002238796 |
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| owner | DE-12 DE-19 DE-BY-UBM DE-703 DE-11 |
| owner_facet | DE-12 DE-19 DE-BY-UBM DE-703 DE-11 |
| physical | xviii, 422 Seiten Illustrationen, Notenbeispiele |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Rowman & Littlefield |
| record_format | marc |
| spelling | Ballard, Lincoln 1975- Verfasser (DE-588)1139903462 aut The Alexander Scriabin companion history, performance, and lore Lincoln Ballard, Matthew Bengtson, with John Bell Young Lanham Rowman & Littlefield [2017] © 2017 xviii, 422 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Scriabin, Aleksandr Nikolayevich 1872-1915 Criticism and interpretation Skrjabin, Aleksandr N. 1872-1915 (DE-588)118614916 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content Skrjabin, Aleksandr N. 1872-1915 (DE-588)118614916 p DE-604 Bengtson, Matthew Verfasser (DE-588)1139904752 aut Erscheint auch als Online-Ausgabe 978-1-4422-3262-4 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029831345&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029831345&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029831345&sequence=000003&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Ballard, Lincoln 1975- Bengtson, Matthew The Alexander Scriabin companion history, performance, and lore Scriabin, Aleksandr Nikolayevich 1872-1915 Criticism and interpretation Skrjabin, Aleksandr N. 1872-1915 (DE-588)118614916 gnd |
| subject_GND | (DE-588)118614916 (DE-588)4006804-3 |
| title | The Alexander Scriabin companion history, performance, and lore |
| title_auth | The Alexander Scriabin companion history, performance, and lore |
| title_exact_search | The Alexander Scriabin companion history, performance, and lore |
| title_full | The Alexander Scriabin companion history, performance, and lore Lincoln Ballard, Matthew Bengtson, with John Bell Young |
| title_fullStr | The Alexander Scriabin companion history, performance, and lore Lincoln Ballard, Matthew Bengtson, with John Bell Young |
| title_full_unstemmed | The Alexander Scriabin companion history, performance, and lore Lincoln Ballard, Matthew Bengtson, with John Bell Young |
| title_short | The Alexander Scriabin companion |
| title_sort | the alexander scriabin companion history performance and lore |
| title_sub | history, performance, and lore |
| topic | Scriabin, Aleksandr Nikolayevich 1872-1915 Criticism and interpretation Skrjabin, Aleksandr N. 1872-1915 (DE-588)118614916 gnd |
| topic_facet | Scriabin, Aleksandr Nikolayevich 1872-1915 Criticism and interpretation Skrjabin, Aleksandr N. 1872-1915 Biografie |
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