{"id":6417,"date":"2025-08-20T15:22:44","date_gmt":"2025-08-20T13:22:44","guid":{"rendered":"https:\/\/pigyki.fr\/?p=6417"},"modified":"2025-08-30T09:19:02","modified_gmt":"2025-08-30T07:19:02","slug":"ecoute-musicale-n69-alexander-scriabine","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/sl\/2025\/08\/20\/ecoute-musicale-n69-alexander-scriabine\/","title":{"rendered":"Poslu\u0161anje glasbe \u0161t. 69 Aleksander Skrjabin"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Aleksander Skrjabin (1872-1915)<\/h1>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\"><strong><em>\u00ab\u00a0Umetnost je le sredstvo za opojnost,&nbsp;<br>\u010dudovito vino.\u00a0\u00bb<\/em><\/strong><br>Skrjabin<\/p>\n<\/blockquote>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-image-fill-element\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"225\" height=\"225\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabine-portrait-1.jpeg\" alt=\"\" class=\"wp-image-6457 size-full\" style=\"object-position:50% 50%\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabine-portrait-1.jpeg 225w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabine-portrait-1-150x150.jpeg 150w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><strong><em><a href=\"https:\/\/sl.wikipedia.org\/wiki\/Aleksander_Nikolajevi%C4%8D_Skrjabin\" target=\"_blank\" rel=\"noreferrer noopener\">Aleksander Skrjabin<\/a><\/em><\/strong> je ena najbolj izvirnih osebnosti ruske glasbe 20. stoletja. Danes se njegova glasba manj izvaja, vendar je bil v svojem \u010dasu pomembnej\u0161i skladatelj kot \u010cajkovski.<\/p>\n\n\n\n<p><strong>Mladega Scriabina sta najbolj navdu\u0161ila Chopinova in Wagnerjeva glasba.<\/strong> Kasneje se je za\u010del zanimati za Debussyja, Ravela in Richarda Straussa, preden je spoznal, da je klasi\u010dna harmonija iz\u010drpala svoje mo\u017enosti. Tako je razvil svoj lasten glasbeni jezik z enim ciljem: ustvariti celovito umetni\u0161ko delo, ki bi poslu\u0161alce popeljalo v nekak\u0161no ekstazo.<\/p>\n\n\n\n<p>Aleksander Skrjabin je bil odli\u010den pianist. Veliko je komponiral za svoj instrument, na primer njegova Etuda v dis-molu je postala zelo znana.<\/p>\n<\/div><\/div>\n\n\n\n<p><strong>Aleksander Skrjabin je bil mojster velike proste oblike in virtuoz miniatur.&nbsp;<\/strong><br>V Rusiji v letih 1910 je bil Aleksander Skrjabin veljal za vodilnega predstavnika modernisti\u010dnega gibanja.<\/p>\n\n\n\n<p>Zanimiva se mi zdi evolucija njegovega glasbenega jezika, ki se je za\u010dela z romantizmom pod vplivom Chopina in Brahmsa, nadaljevala z Wagnerjem in Rimskim-Korsakovom, ter se kon\u010dala v slogu, podobnem Sch\u00f6nbergu, vendar bolj razko\u0161nem in osebnem. To \u017eelim deliti v tem \u010dlanku&#8230;<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">Kratke posnetke, ki zaznamujejo njegov stilisti\u010dni razvoj<\/h5>\n\n\n\n<h6 class=\"wp-block-heading\">\u0160tudije za klavir: Op. 2 &#8211; 1889 \/ Op. 8 &#8211; 1894 \/ Op.42 &#8211; 1903 \/ Op. 65 &#8211; 1912<\/h6>\n\n\n\n<p><strong>Op. 2 No. 1<\/strong> v cis molu: Andante &#8211; <strong>Op. 8 No. 12<\/strong> v dis molu: Patetico &#8211; <strong>Op. 42 No. 3<\/strong> v Fis duru: Prestissimo &#8211; <strong>Op. 42 No. 4<\/strong> v Fis duru: Andante &#8211; <strong>Op. 65 No. 3<\/strong>: Molto vivace<br>Vladimir Horowitz (1968 v \u017eivo Op.8 \u2013 1972 v studiu, ostali)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Selection-dEtudes-Horowitz.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Sonate \u2013 izbrani odlomki iz 3 obdobij:<\/h6>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>1892<\/strong>: Romanti\u010dna, navdihnjena po vzoru Chopina, sonata \u0161t. 1 <strong>op. 6\u00a0<\/strong><br>1. stavek (od 4) Allegro con fuoco \u2013 Vladimir Ashkenazy<\/li>\n\n\n\n<li><strong>1907<\/strong>: Osebnej\u0161i jezik, Sonata \u0161t. 5, <strong>op. 53<\/strong> v F-duru,\u00a0<br>Allegro \u2013 Presto con allegrezza Meno \u2013 Sviatoslav Richter<\/li>\n\n\n\n<li><strong>1912<\/strong>: Moderna in misti\u010dna, Sonata \u0161t. 9, <strong>op. 68<\/strong> \u00bb<em>\u010crna ma\u0161a<\/em>\u00ab \u2013 Pierre-Laurent Aimard<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Piano-Extraits-Sonates-N\u00b01-I.-N\u00b05-N\u00b09.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Koncert in simfoni\u010dna glasba<\/h6>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Koncert za klavir in orkester op. 20 (1896\u201397), 1. stavek (Allegro) (7&rsquo;50)<\/li>\n\n\n\n<li>R\u00eaverie, op. 24 (1898) (4&prime;)<\/li>\n\n\n\n<li>Simfonija \u0161t. 3 v c-molu, op. 43 \u2013 \u00bbLe Po\u00e8me Divin\u00ab: 3. Jeu Divin (Allegro \u2013 vivo \u2013 allegro) (9&rsquo;53)<\/li>\n\n\n\n<li>Myst\u00e9rium \u2013 Uvod (Lent. Imp\u00e9rieux) (6&rsquo;25)<br>(nedokon\u010dan projekt, za\u010det leta 1903, nadaljeval in dokon\u010dal ga je Alexander Nemtin)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-extraits-symphoniques-1.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Dolga poslu\u0161anja<\/h2>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"#symphonie-2\">Simfonija \u0161t. 2 *<\/a> v c-molu, op. 29 (1901)<\/em><\/strong><\/h5>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=LIKvjEhb1v4\">00:00<\/a>\u200b &#8211; I. Andante <a href=\"https:\/\/www.youtube.com\/watch?v=LIKvjEhb1v4&amp;t=342s\">05:42<\/a>\u200b &#8211; II. Allegro <a href=\"https:\/\/www.youtube.com\/watch?v=LIKvjEhb1v4&amp;t=899s\">14:59<\/a>\u200b &#8211; III. Andante <a href=\"https:\/\/www.youtube.com\/watch?v=LIKvjEhb1v4&amp;t=1596s\">26:36<\/a>\u200b &#8211; IV. Tempestoso <a href=\"https:\/\/www.youtube.com\/watch?v=LIKvjEhb1v4&amp;t=1925s\">32:05<\/a>\u200b &#8211; V. Maestoso<br>Izvaja \u0160kotski nacionalni orkester pod taktirko Neemeja J\u00e4rvija.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Alexander-Scriabin-Symphony-No.-2-with-score.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"#mysterium\">Mysterium *<\/a><\/em><\/strong> (dokon\u010dal Alexander Nemtin)<\/h5>\n\n\n\n<p><strong><em>I. Vesolje<\/em><\/strong><br>Michel Tabachnik, dirigent \u2013 Susan Narucki, sopran \u2013 H\u00e5kon Austb\u00f8, klavir \u2013 North Netherlands Orchestra \u2013 North Netherlands Concert Choir. Posnetek v \u017eivo iz leta 2006.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Mysterium-1.-Universe.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Dela za klavir<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">Sonata \u0161t. 2 v gis#-molu (Sonata-Fantasy) op. 19 (1895-97)<\/h5>\n\n\n\n<p>1. Andante &#8211; 2. Finale : Presto<br>Evgeny Kissin (2022)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Evgeny-Kissin-Sonata-Fantasy-Op.-19.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Po\u00e8me-Nocturne za klavir, op. 61 (1911-12).<\/h5>\n\n\n\n<p>Sviatoslav Richter, klavir (1993)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Alexander-Scriabin-Poeme-Nocturne-Op.-61.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Sonata \u0161t. 9, Op. 68 \u00bb<em>\u010crna ma\u0161a<\/em>\u00ab (1912-13)<\/h5>\n\n\n\n<p>Pierre-Laurent Aimard, klavir<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-Piano-Sonata-No.-9-Op.-68-Black-Mass.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"#danses\">Dva plesa *<\/a><\/em><\/strong> Op.73 (1914)<\/h5>\n\n\n\n<p>\u0161t. 1 \u00bbGuirlandes\u00ab in \u0161t. 2 \u00bbFlammes sombres\u00ab<br>Vladimir Sofronitsky, klavir (1960)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Vladimir-Sofronitsky-plays-Scriabin-2-Dances-Op.73.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Pet preludijev, Op. 74 (1914)<\/h5>\n\n\n\n<p>I. Bole\u010d, pretresljiv \u2013 II. Zelo po\u010dasen, kontemplativen \u2013 III. Allegro drammatico \u2013 IV. Po\u010dasen, nejasen, neodlo\u010den \u2013 V. Ponosen, bojevit<br>Emil Gilels, klavir (1984)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-Five-Preludes-op.-74-Emil-Gilels-2.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Simfoni\u010dna dela<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"https:\/\/sl.wikipedia.org\/wiki\/Koncert_za_klavir_in_orkester_(Skrjabin)\" target=\"_blank\" rel=\"noreferrer noopener\">Koncert za klavir in orkester v fis-molu<\/a><\/em><\/strong>, op. 20, (1896-97)<\/h5>\n\n\n\n<p>Peter Jablonski, klavir \u00b7 Deutsches Symphonie-Orchester Berlin \u00b7 Vladimir Ashkenazy, dirigent (1996)<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>1. Allegro<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-Piano-Concerto-in-F-sharp-minor-Op.-20-1.-Allegro.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>2. Andante<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-Piano-Concerto-in-F-sharp-minor-Op.-20-2.-Andante.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>3. Allegro<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-Piano-Concerto-in-F-sharp-minor-Op.-20-3.-Allegro.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p>Vsi trije stavki Vladimir Ashkenazy, klavir &#8211; London Philharmonic Orchestra, Lorin Maazel, dirigent (1971)Dirigent (1996)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-\u2013-Piano-Concerto-in-F-sharp-minor-op.-20-Vladimir-AshkenazyMaazel-Complete.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em>R\u00eaverie<\/em><\/strong>, Op. 24 (1898)<\/h5>\n\n\n\n<p>Radio-Symphonie-Orchester Berlin \u00b7 Vladimir Ashkenazy, dirigent.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-Reverie-Op.-24.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Le Po\u00e8me de l&rsquo;Extase<\/em>, Op. 54 (1904-07)<\/h5>\n\n\n\n<p>Radio-Symphonie-Orchester Berlin \u00b7 Vladimir Ashkenazy, dirigent.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-Le-Poeme-de-lExtase-Op.54.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"#prom\u00e9th\u00e9e\">Prometej ali Pesem ognja *<\/a><\/em><\/strong> Op. 60 (1908-10)<\/h5>\n\n\n\n<p>Anatol Ugorski, klavir &#8211; Chicago Symphony Orchestra, Pierre Boulez &#8211; Chicago Symphony Chorus, Duain Wolfe<a href=\"https:\/\/www.youtube.com\/channel\/UC-9-kyTW8ZkZNDHQJ6FgpwQ\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/A.-Scriabin-Prometheus-or-the-Poem-of-Fire-Promethee-ou-le-Poeme-du-feu-op.-60-Boulez.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-right\">Koti\u010dek za primerjalno poslu\u0161anje<\/h2>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"#flamme\">K plamenu: Pesem za klavir, op. 72, (1914) *<\/a><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Vladimir Sofronitsky (1946)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Vladimir-Sofronitsky-plays-Scriabin-Vers-la-flamme-op.72.mp3\"><\/audio><\/figure>\n\n\n\n<p>Grigory Sokolov (1973)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Sokolov-Scriabin-Vers-la-Flamme-op.72-1973.wmv.mp3\"><\/audio><\/figure>\n\n\n\n<p>Michael Ponti (1974)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Vers-la-flamme-Op.-72.mp3\"><\/audio><\/figure>\n\n\n\n<p><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Arcadi_Volodos\">Arcadi Volodos<\/a> (2005)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/A.-Scriabin-Vers-la-flamme-op.-72-Volodos-legendary-recording.mp3\"><\/audio><\/figure>\n\n\n\n<p>Andrei Korobeinikov (2008)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Vers-la-flamme-Op.-72-1.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Heinrich Neuhaus (1951)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Heinrich-Neuhaus-plays-Scriabin-Vers-la-flamme.mp3\"><\/audio><\/figure>\n\n\n\n<p>Vladimir Horowitz (1974)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/VLADIMIR-HOROWITZ-VERS-LA-FLAMME-POEME-OP.72.mp3\"><\/audio><\/figure>\n\n\n\n<p>Sviatoslav Richter (1994)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-Vers-la-flamme-Op.-72-Sviatoslav-Richter.mp3\"><\/audio><\/figure>\n\n\n\n<p>Igor Zhukov (1980)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabin-VERS-LA-FLAMME-Op-72-IGOR-ZHUKOV.mp3\"><\/audio><\/figure>\n\n\n\n<p>Alexandre Kantorow (2022)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Scriabine-Vers-la-flamme-op-72-Alexandre-Kantorow.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">* Ve\u010d informacij\u2026<\/h2>\n\n\n\n<h5 class=\"wp-block-heading\">Razvoj njegovega glasbenega jezika<\/h5>\n\n\n\n<p>V svojih zgodnjih letih je bil mo\u010dno pod vplivom glasbe Fr\u00e9d\u00e9rica Chopina in je pisal dela v relativno tonalnem poznoromanti\u010dnem slogu. Kasneje, neodvisno od svojega zelo vplivnega sodobnika Arnolda Schoenberga, je Scriabin razvil bistveno atonalni in veliko bolj disonanten glasbeni jezik, ki je bil v skladu z njegovo osebno mistiko. Skrjabin je bil pod vplivom sinestezije in je barve povezoval z razli\u010dnimi harmoni\u010dnimi toni svoje atonalne lestvice, medtem ko je bil njegov barvno kodiran kvintni krog prav tako pod vplivom teozofije. Nekateri ga \u0161tejejo za glavnega ruskega simbolisti\u010dnega skladatelja.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"flamme\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"https:\/\/en.wikipedia.org\/wiki\/Vers_la_flamme\" target=\"_blank\" rel=\"noreferrer noopener\">K plamenu: Pesem za klavir,<\/a><\/em>, op. 72, (1914)<\/strong><\/h5>\n\n\n\n<p>Tukaj sta dva (anonimna) predstavitvena besedila, izvzeta iz YouTuba:<\/p>\n\n\n\n<p>Tako kot Liszt je tudi Scriabin svoje filozofske skrbi in misti\u010dno iskanje prenesel v svoje kompozicije. Pod vplivom teozofije (doktrine, ki \u010drpa iz vzhodnih religij, filozofije in gr\u0161kih mitov) je glasbo razumel kot sredstvo za dostop do bo\u017eanskega. Po njegovem mnenju bi svet preoblikoval o\u010distilni ogenj, ideja, ki je bila izhodi\u0161\u010de za simfoni\u010dno partituro Prometej, Pesem ognja (1908\u20131910) in Vers la flamme, zadnje izmed njegovih del z naslovom Pesmi.<\/p>\n\n\n\n<p>V duhu Liszta, Wagnerja in Debussyja ta klavirska skladba razblini tonaliteto. Hipnoti\u010dne ponovitve, polne tril\u010dkov, tremolov in ponavljajo\u010dih se akordov, spremljajo variacije, ki poganjajo zgodbo naprej. Napredovanje, zaznamovano z izrazitimi navodili, ki ozna\u010dujejo posamezne stopnje (\u201etemno\u201c, \u201ez nastajajo\u010dim \u010dustvom\u201c, \u201ez zakrito radostjo\u201c, \u201evse bolj \u017eivahno\u201c, \u201ez vse bolj burno radostjo\u201c), vodi do ekstati\u010dnega vrhunca, ki ga je treba igrati \u201ekot fanfare\u201c.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>Vers la flamme je eno zadnjih klavirskih del, ki jih je Aleksander Skrjabin napisal leta 1914. Melodija tega dela je zelo preprosta, sestavljena predvsem iz padajo\u010dih poltonov. Vendar pa neobi\u010dajne harmonije in zahtevni tremoli ustvarjajo intenzivno in gore\u010do svetlobo. Ta skladba naj bi bila Skrjabinova enajsta sonata, vendar jo je moral zaradi finan\u010dnih razlogov objaviti prej, kot je bilo na\u010drtovano. Zato je naslovljena preprosto \u00bbpesem\u00ab in ne \u00bbsonata\u00ab. Po mnenju slavnega pianista Vladimirja Horowitza je to delo navdihnilo Scriabinovo ekscentri\u010dno prepri\u010danje, da bo nenehno kopi\u010denje toplote na koncu povzro\u010dilo uni\u010denje sveta. Naslov dela odra\u017ea gore\u010de uni\u010denje Zemlje, pa tudi nenehno kopi\u010denje \u010dustev in crescendo skozi celotno delo, ki na koncu vodi \u00bbv plamen\u00ab.<\/p>\n\n\n\n<p>Tukaj je tudi izvle\u010dek iz intervjuja z Vladimirjem Horowitzom iz leta 1974, preveden iz angle\u0161\u010dine:\u2026<\/p>\n\n\n\n<p><em>&#8230;\u00bbAmpak bil je o\u010de sodobnega klavirja, o\u010de klavirskega igranja in o\u010de sonatne oblike. Izjemen. Izjemen.<br>Zato me to tako zanima. \u010ce glasbenik podari dar, me ne zanima niti on niti odstotek njegove glasbe ali karkoli drugega. Preprosto vem, da je to dobra glasba.<br>Zato se je zanimal za Clementija, in takrat je bil samo Clementi, da. Scriabin, mislil je tudi, da je za publiko te\u017eko razumljiv. Zato je bil nenaklonjen temu, da bi veliko igral, vendar je veliko igral Scriabina.<br>Scriabin je bil na koncu svojega \u017eivljenja misti\u010den. V svoji domi\u0161ljiji je verjel, da bo nekega dne pri\u0161el dan, ko bo vro\u010dina uni\u010dila svet. Verjel je v to, ne vedo\u010d, da je bilo v tistem \u010dasu sploh mogo\u010de izumiti atom.<br>Skladba je bila napisana leta 1912. Naslov te skladbe je Vers La Flamme. Je zelo moderna, zelo udarna. Je zelo noro. Je zelo te\u017eko razumljiva. In je zelo razburljiva skladba. Da, moram vzeti jakno. Je te\u017eka skladba. Je zelo posebna. Je povsem posebna glasba. Je bolj udarna klavirska glasba.<br>To je nekoliko stra\u0161ljiva glasba. Pripravite se na mo\u010dan zvok. \u010ce ne bom omedlel, bo v redu.<br>V redu, za\u010dnimo. To je te\u017eko. Da, res je\u00ab.<\/em><br>Nato sle\u010de suknji\u010d, sede za klavir in zaigra skladbo, ki jo kon\u010da z glasnim smehom in besedami: <em>\u00bbTo je te\u017eko!\u00ab<\/em>\u2026<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"prom\u00e9th\u00e9e\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Prometej ali Pesem ognja<\/em> op. 60<\/h5>\n\n\n\n<p>Prometej ali Pesem ognja op. 60 za klavir, zbor, velik orkester in \u00bbluce\u00ab, vrsto barvnega orgla, ki naj bi ustvarjal sinesteti\u010dne u\u010dinke, ki jih je \u017eelel skladatelj.<\/p>\n\n\n\n<p>Wikipedija o kromati\u010dnih orglah: \u00bbDel za kromati\u010dne orgle je zapisan na lo\u010denem notnem sistemu v G-klju na vrhu partiture in je sestavljen iz dveh delov: eden se spreminja z harmonijo in vedno gre proti osnovni noti dominantne harmonije, s \u010dimer ustvarja barvo, ki jo Scriabin povezuje z vsako tonaliteto; drugi del je sestavljen iz veliko dalj\u0161ih not, ki trajajo ve\u010d taktov in se ne zdijo povezane z harmonijo (in torej tudi ne s prvim delom), ampak se po\u010dasi dvigajo po lestvici, po en ton naenkrat, pri \u010demer so spremembe razporejene na ve\u010d straneh partiture ali v razmiku ene ali dveh minut. Razmerje med tem delom in prvim delom ali z glasbo kot celoto ni jasno.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"768\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/SCRIABINE-CERCLE-DES-COULEURS-1.jpg\" alt=\"SCRIABINE-CERCLE-DES-COULEURS\" class=\"wp-image-6467\" style=\"width:583px;height:auto\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/SCRIABINE-CERCLE-DES-COULEURS-1.jpg 800w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/SCRIABINE-CERCLE-DES-COULEURS-1-300x288.jpg 300w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/SCRIABINE-CERCLE-DES-COULEURS-1-768x737.jpg 768w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/SCRIABINE-CERCLE-DES-COULEURS-1-281x270.jpg 281w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><\/figure>\n<\/div>\n\n\n<p>Partitura ne pojasnjuje, kako naj se med izvedbo hkrati predstavita dve razli\u010dni barvi. Ta del barvnega orgelskega dela vsebuje tudi tri dele v dolo\u010denem trenutku partiture.<\/p>\n\n\n\n<p>Viri se razlikujejo glede Scriabinovih namer glede izvedbe dela za kromati\u010dni orgelski del: mnogi trdijo, da naj bi bile barve projicirane na zaslon pred ob\u010dinstvom, drugi pa trdijo, da naj bi preplavile celoten koncertni dvorano in da je bila njihova projekcija na zaslon le kompromis, sprejet potem, ko se je izkazalo, da je preplavitev koncertne dvorane nemogo\u010da ali neizvedljiva. Partitura sama ne vsebuje nobenih navodil o tem, kako naj bi bilo to izvedeno.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"danses\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em>Dva plesa <\/em><\/strong> Op.73 (1914)<\/h5>\n\n\n\n<p>Spodaj je predlog za barvno obdelavo skladbe \u00bbGuirlandes\u00ab avtorjev Rob Colley, klavir, in Sarah Colley, video, da bi se pribli\u017eali vizionarski ideji Scriabina v njegovem zadnjem obdobju.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Scriabin Guirlandes Op. 73 No. 1 - Rob Colley Piano\" width=\"760\" height=\"570\" src=\"https:\/\/www.youtube.com\/embed\/cgxgt8nmko0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"symphonie-2\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Simfonija \u0161t. 2<\/em><\/h5>\n\n\n\n<p><em>\u00ab\u00a0Druga simfonija je bila dokon\u010dana leta 1901, leto po prvi. Glede formalne strukture je najbolj tradicionalna med njegovimi simfonijami. Prvi dve stavki (Andante, Allegro) se izvajata brez prekinitve in strukturno tvorita klasi\u010dni sonatni stavek. V tretjem stavku (Andante) pa avtor naredi izjemen napredek v smeri mo\u010dno kromati\u010dnega zvoka, ki je zna\u010dilen za zrelega Scriabina. Stavek se za\u010dne s pti\u010djim petjem, izvedenim na flavti, kar je \u0161e ena zna\u010dilnost Scriabina. Preostanek stavka, s pogostimi priklici pti\u010djega petja in drugih zvokov narave, je kot dolg sanjski sprehod po divji naravi. Tudi osrednji vrhunec je naraven. \u010cetrti stavek (Tempestuoso), scherzo v molu, je o\u010darljiv stavek, poln turbulenc v godalih, timpanih in trobilih, ki ga na nekaterih mestih kratko prekinjajo bolj liri\u010dni odlomki. Proti koncu stavka se tonaliteta modulira v dur in brez prehoda vodi v zadnji stavek Maestoso, z veli\u010dastno ponovitvijo uvodne teme simfonije. To delo je pomemben mejnik v Scriabinovi skladateljski karieri in je ob svoji premieri v Sankt Peterburgu pod taktirko Anatola Lyadova 12. januarja 1902 \u0161e vedno nekoliko \u0161okiralo prvotno ob\u010dinstvo.\u00a0\u00bb<\/em> \u2013 John Dobson<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"mysterium\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Le_Myst%C3%A8re\" target=\"_blank\" rel=\"noreferrer noopener\">Mysterium<\/a><\/em><\/strong> : <strong><em>Priprava na Kon\u010dno skrivnost<\/em><\/strong><\/h5>\n\n\n\n<p>\u00bbNe bo nobenega gledalca. Vsi bodo udele\u017eenci. Delo zahteva posebne ljudi, posebne umetnike in povsem novo kulturo. V obsadbi so orkester, velik me\u0161ani zbor, instrument z vizualnimi u\u010dinki, plesalci, procesija, kadilo in ritmi\u010dna teksturna artikulacija. Katedrala, v kateri se bo odvijalo, ne bo zgrajena iz enega samega kamna, ampak se bo nenehno spreminjala glede na atmosfero in gibanje Mysterium. To bo dose\u017eeno s pomo\u010djo megle in lu\u010di, ki bodo spreminjale arhitekturne obrise.\u00ab Aleksander Skrjabin<\/p>\n\n\n\n<p>Veliko sinesteti\u010dno oratorij \u00bbMysterium\u00ab je dokon\u010dal, aran\u017eiral in orkestriral dirigent in skladatelj Alexander Nemtin (1936\u20131999) na podlagi Skrjabinovih skic, dolgih 72 strani, v koncertno delo v treh delih z naslovom \u00bbPriprava na kon\u010dno skrivnost\u00ab.<\/p>\n\n\n\n<p>I. Vesolje<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Mysterium-1.-Universe-1.mp3\"><\/audio><\/figure>\n\n\n\n<p>II. \u010clovek<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Mysterium-II.-Mankind.mp3\"><\/audio><\/figure>\n\n\n\n<p>III. Preobrazba<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Mysterium-III.-Transfiguration.mp3\"><\/audio><\/figure>\n\n\n\n<p><strong>Projekt<\/strong> (izvle\u010dek iz \u010dlanka na Wikipediji)<\/p>\n\n\n\n<p>\u2026 Scriabin je \u017eelel, da bi to delo nagovarjalo vse \u010dute (z napravami, kot je njegova \u00bbsvetlobna klaviatura\u00ab ali drugimi manj znanimi, ki jih je pogosto izumil sam glasbenik, pa tudi z obredi, plesi in dotiki (celo spolnimi odnosi), pri \u010demer so gledalci postali polnopravni udele\u017eenci slovesnosti. Izvedba tega dela, katerega misti\u010dno-filozofske aspiracije je treba povezati s teozofskimi teorijami, za katere se je Scriabin v zadnjih petnajstih letih zelo zanimal, naj bi bila sledila izginotje \u010dlove\u0161tva (ali celo vesolja) v ekstazi in njegova zamenjava z \u00bbplemenitej\u0161imi\u00ab bitji\u2026<\/p>\n\n\n\n<p>\u010ce \u017eelite brez prekinitev poslu\u0161ati 2 uri in 30 minut tega titanskega dela, je tukaj povezava na YouTube:<br><a href=\"https:\/\/youtu.be\/xT92SvAIobY?si=oSVYhFPbVRwFUJO3\n\">https:\/\/youtu.be\/xT92SvAIobY?si=oSVYhFPbVRwFUJO3<br><\/a>Stanislav Kochanovsky, dirigent Alexander Ghindin, klavir Nadezhda Gulitskaya, sopran Mad\u017earski radijski zbor Belgijski nacionalni orkester \/ Javni koncert, posnet v Bruslju leta 2018.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>273 \/ 5\u202f000<br \/>\nAleksander Skrjabin (1872\u20131915) je ena najbolj izvirnih osebnosti ruske glasbe 20. stoletja. Odkrijte razvoj njegovega glasbenega sloga.<\/p>\n","protected":false},"author":1,"featured_media":6441,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"yes","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[252],"tags":[],"class_list":["post-6417","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr-sl"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Poslu\u0161anje glasbe \u0161t. 69 Aleksander Skrjabin - Pigyki<\/title>\n<meta name=\"description\" content=\"Aleksander Skrjabin (1872\u20131915) je ena najbolj izvirnih osebnosti ruske glasbe 20. stoletja. 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