{"id":6637,"date":"2025-08-29T11:21:23","date_gmt":"2025-08-29T09:21:23","guid":{"rendered":"https:\/\/pigyki.fr\/?p=6637"},"modified":"2025-08-30T09:29:07","modified_gmt":"2025-08-30T07:29:07","slug":"escolta-musical-num-69-alexander-scriabin","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/ca\/2025\/08\/29\/escolta-musical-num-69-alexander-scriabin\/","title":{"rendered":"Escolta musical n\u00fam. 69 Alexander Scriabin"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Alexander Scriabin (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\u00a0L&rsquo;art nom\u00e9s \u00e9s un mitj\u00e0 per embriagar-se,<br>un vi meravell\u00f3s.\u00a0\u00bb<\/em><\/strong><br>Scriabin<\/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:\/\/ca.wikipedia.org\/wiki\/Aleksandr_Skriabin\" target=\"_blank\" rel=\"noreferrer noopener\">Alexander Scriabin<\/a><\/em><\/strong> \u00e9s una de les figures m\u00e9s originals de la m\u00fasica russa del segle XX. Interpretat amb menys freq\u00fc\u00e8ncia avui dia, va ser, en el seu temps, un compositor m\u00e9s important que Txaikovski.<\/p>\n\n\n\n<p><strong>El jove Scriabin va experimentar els seus primers despertars musicals gr\u00e0cies a la m\u00fasica de Chopin i Wagner. <\/strong>M\u00e9s tard, es va interessar per Debussy, Ravel i Richard Strauss, abans d&rsquo;adonar-se que l&rsquo;harmonia cl\u00e0ssica havia deixat de ser \u00fatil. Aix\u00ed va proposar el seu propi llenguatge musical, amb un objectiu: crear una obra d&rsquo;art total dissenyada per conduir el p\u00fablic a una forma d&rsquo;\u00e8xtasi.<\/p>\n\n\n\n<p>Alexander Scriabin va ser un excel\u00b7lent pianista. Va escriure extensament per al seu instrument, i el seu Estudi en re sostingut menor, per exemple, es va fer molt fam\u00f3s.<\/p>\n<\/div><\/div>\n\n\n\n<p><strong>Alexander Scriabin<\/strong> va ser un mestre de la forma lliure a gran escala i tamb\u00e9 va ser un virtu\u00f3s de les miniatures.<br>A R\u00fassia durant la d\u00e8cada del 1910, Alexander Scriabin va ser considerat el l\u00edder del moviment modernista.<\/p>\n\n\n\n<p>Trobo fascinant l&rsquo;evoluci\u00f3 del seu llenguatge musical, comen\u00e7ant pel Romanticisme influenciat per Chopin i Brahms, passant per Wagner i Rimski-K\u00f3rsakov, per acabar bruscament en un estil proper a Schoenberg, per\u00f2 m\u00e9s extravagant i personal. Aix\u00f2 \u00e9s el que vull compartir en aquest article\u2026.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">Escoltes breus que marquen la seva evoluci\u00f3 estil\u00edstica<\/h5>\n\n\n\n<h6 class=\"wp-block-heading\"><em>Estudis per a piano<\/em>: 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 n\u00fam. 1<\/strong> en Do\u266f menor: Andante &#8211; <strong>Op. 8 n\u00fam. 12<\/strong> en Re\u266f menor: Pat\u00e9tico &#8211; <strong>Op. 42 n\u00fam. 3<\/strong> en Fa\u266f major: Prestissimo &#8211; <strong>Op. 42 n\u00fam. 4 <\/strong>en Fa\u266f major: Andante &#8211; <strong>Op. 65 n\u00fam. 3<\/strong>: Molto vivace<br>De Vladimir Horowitz (1968 en directe Op. 8 &#8211; 1972 estudi, altres)<\/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\"><em>Sonates<\/em> &#8211; Fragments de 3 per\u00edodes:<\/h6>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>1892<\/strong>: Rom\u00e0ntica, inspirada en Chopin, Sonata n\u00fam. 1,<strong> op. 6<\/strong><br>1r moviment (de 4), Allegro con fuoco &#8211; de Vladimir Ashkenazy<\/li>\n\n\n\n<li><strong>1907<\/strong>: M\u00e9s personal, Sonata n\u00fam. 5, <strong>op. 53<\/strong> en fa# major,<br>Allegro &#8211; Presto con allegrezza Meno &#8211; de Sviatoslav Richter<\/li>\n\n\n\n<li><strong>1912<\/strong>: Moderna i m\u00edstica, Sonata n\u00fam. 9, <strong>op. 68<\/strong>, \u00ab\u00a0Missa negra\u00a0\u00bb &#8211; de 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\">Concert i m\u00fasica simf\u00f2nica<\/h6>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Concert per a piano i orquestra, op. 20 (1896-97), 1r moviment (Allegro) (7&rsquo;50)<\/li>\n\n\n\n<li>R\u00eaverie, op. 24 (1898) (4&prime;)<\/li>\n\n\n\n<li>Simfonia n\u00fam. 3 en do menor, op. 43 &#8211; \u00ab\u00a0El Poema Div\u00ed\u00a0\u00bb: 3. Joc Div\u00ed (Allegro &#8211; vivo &#8211; allegro) (9:53)<\/li>\n\n\n\n<li>Mysterium &#8211; Introducci\u00f3 (Lent. Imperi\u00f3s) (6:25)<br>(projecte inacabat iniciat el 1903, assumit i completat per 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<h4 class=\"wp-block-heading\">Escolta Extesa<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"#symphonie-2\"><strong><em>Simfonia n\u00fam. 2<\/em><\/strong><\/a><\/em><\/strong> <strong><em><a href=\"#symphonie-2\">*<\/a>  en do menor, 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>Per l&rsquo;Orquestra Nacional Escocesa, Neeme J\u00e4rvi, directora.<\/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> (completat per Alexander Nemtin)<\/h5>\n\n\n\n<p><strong><em>I. Univers<\/em><\/strong><br>Michel Tabachnik, directora &#8211; Susan Narucki, soprano &#8211; H\u00e5kon Austb\u00f8, piano &#8211; Orquestra dels Pa\u00efsos Baixos del Nord &#8211; Cor de Concerts del Nord dels Pa\u00efsos Baixos. Enregistrament en directe del 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\">Obres per a piano<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Sonata<\/em> n\u00fam. 2 en sol menor (<em>Sonata-Fantasia<\/em>) op. 19 (1895-97)<\/h5>\n\n\n\n<p>1. Andante &#8211; 2. Finale: Presto<br>Per Evgeny Kissin, Piano (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\"><em>Po\u00e8me-Nocturn<\/em> per a piano, op. 61 (1911-12).<\/h5>\n\n\n\n<p>Per Sviatoslav Richter, Piano (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\"><em>Sonata<\/em> n\u00fam. 9, op. 68 \u00ab\u00a0<em>Missa negra<\/em>\u00a0\u00bb (1912-13)<\/h5>\n\n\n\n<p>Per Pierre-Laurent Aimard, Piano<\/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\">Dues Danses * <\/a><\/em><\/strong> Op.73 (1914)<\/h5>\n\n\n\n<p>N\u00fam. 1 \u00ab\u00a0<em>Garlandes<\/em>\u00a0\u00bb i n\u00fam. 2 \u00ab\u00a0<em>Flames Fosques<\/em>\u00ab\u00a0<br>De Vladimir Sofronitsky, Piano (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\">Cinc <em>Preludis<\/em>, Op. 74 (1914)<\/h5>\n\n\n\n<p>I. Trist, Desgarrador &#8211; II. Molt lent, contemplatiu &#8211; III. Allegro drammatico &#8211; IV. Lent, vague, indec\u00eds &#8211; V. Orgull\u00f3s, bel\u00b7ligerant<br>D&rsquo;Emil Gilels, Piano (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\">Obres Simf\u00f2niques<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"https:\/\/ca.wikipedia.org\/wiki\/Concert_per_a_piano_(Skriabin)\" target=\"_blank\" rel=\"noreferrer noopener\">Concert per a piano i orquestra en Fa sostingut menor<\/a><\/em><\/strong>, Op. 20, en Fa sostingut menor, (1896-97)<\/h5>\n\n\n\n<p>De Peter Jablonski, Piano \u00b7 Deutsches Symphonie-Orchester Berlin \u00b7 Vladimir Ashkenazy, Director (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>Tots 3 moviments de Vladimir Ashkenazy, Piano &#8211; Orquestra Filharm\u00f2nica de Londres, Lorin Maazel, Director (1971)<\/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>Per Radio-Symphonie-Orchester Berlin \u00b7 Vladimir Ashkenazy, Director<\/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>El Poema de l&rsquo;\u00c8xtasi<\/em>, Op. 54 (1904-07)<\/h5>\n\n\n\n<p>Per Radio-Symphonie-Orchester Berlin \u00b7 Vladimir Ashkenazy, Director<\/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\">Prometeu o el Poema del Foc *<\/a><\/em><\/strong> Op. 60 (1908-10)<\/h5>\n\n\n\n<p>D&rsquo;Anatol Ugorski, Piano &#8211; Orquestra Simf\u00f2nica de Chicago, Pierre Boulez &#8211; Cor Simf\u00f2nic de Chicago, 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\">Rac\u00f3 d&rsquo;escolta comparativa<\/h2>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"#flamme\">Cap a la flama: Poema per a piano,<\/a> <a href=\"#flamme\">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:\/\/ca.wikipedia.org\/wiki\/Arcadi_Volodos\" target=\"_blank\" rel=\"noreferrer noopener\">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\">* Per aprendre&rsquo;n m\u00e9s\u2026<\/h2>\n\n\n\n<h5 class=\"wp-block-heading\">Evoluci\u00f3 del seu llenguatge musical<\/h5>\n\n\n\n<p>En els seus primers anys, va estar molt influenciat per la m\u00fasica de Fr\u00e9d\u00e9ric Chopin i va escriure obres en un estil rom\u00e0ntic tard\u00e0 relativament tonal. M\u00e9s tard, i independentment del seu contemporani molt influent, Arnold Schoenberg, Scriabin va desenvolupar un llenguatge musical substancialment atonal i molt m\u00e9s dissonant, que estava en conson\u00e0ncia amb la seva marca personal de misticisme. Scriabin va estar influenciat per la sinest\u00e8sia i va associar els colors amb els diferents tons harm\u00f2nics de la seva escala atonal, mentre que el seu cercle de quintes codificat per colors tamb\u00e9 va estar influenciat per la teosofia. Alguns el consideren el principal compositor simbolista rus.<\/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\"><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Vers_la_flamme\" target=\"_blank\" rel=\"noreferrer noopener\"><\/a><\/em><strong><em><a href=\"#flamme\">Cap a la flama: Poema per a piano<\/a><\/em>, op. 72, (1914)<\/strong><\/h5>\n\n\n\n<p>Aqu\u00ed teniu dos textos introductoris (an\u00f2nims) extrets de YouTube:<\/p>\n\n\n\n<p>Com Liszt, Scriabin va transposar les seves preocupacions filos\u00f2fiques i la seva recerca m\u00edstica a les seves composicions. Influenciat per la teosofia (una doctrina informada per les religions orientals, la filosofia i els mites grecs), veia la m\u00fasica com un mitj\u00e0 per accedir al div\u00ed. Segons ell, el m\u00f3n seria transfigurat per un foc purificador, una idea que va inspirar la partitura simf\u00f2nica Prometeu, el Poema del foc (1908-1910) i Cap a la flama, l&rsquo;\u00faltima de les seves obres titulada Poemes.<\/p>\n\n\n\n<p>Seguint els passos de Liszt, Wagner i Debussy, aquesta pe\u00e7a per a piano dissol la tonalitat. Repeticions hipn\u00f2tiques que vibren amb trins, tr\u00e8molos i acords repetits s&rsquo;acompanyen de variacions que fan avan\u00e7ar el discurs. La progressi\u00f3, puntuada per marques expressives que assenyalen les seves etapes (\u00ab\u00a0fosc\u00a0\u00bb, \u00ab\u00a0amb emoci\u00f3 naixent\u00a0\u00bb, \u00ab\u00a0amb alegria velada\u00a0\u00bb, \u00ab\u00a0cada cop m\u00e9s animat\u00a0\u00bb, \u00ab\u00a0amb alegria cada cop m\u00e9s tumultuosa\u00a0\u00bb), condueix a un cl\u00edmax ext\u00e0tic, que s&rsquo;interpretar\u00e0 \u00ab\u00a0com una fanf\u00e0rria\u00a0\u00bb.<\/p>\n\n\n\n<p>&#8230;<\/p>\n\n\n\n<p>Cap a la flama \u00e9s una de les \u00faltimes peces per a piano compostes per Alexander Scriabin el 1914. La melodia d&rsquo;aquesta obra \u00e9s molt senzilla, composta principalment per semitons descendents. Tanmateix, les harmonies inusuals i els tr\u00e8molos desafiadors creen una lluminositat intensa i ardent. Aquesta pe\u00e7a estava pensada per ser l&rsquo;onzena sonata de Scriabin, per\u00f2 la va haver de publicar abans del previst per motius financers. \u00c9s per aix\u00f2 que simplement es titula \u00ab\u00a0poema\u00a0\u00bb i no \u00ab\u00a0sonata\u00a0\u00bb. Segons el reconegut pianista Vladimir Horowitz, aquesta pe\u00e7a es va inspirar en la creen\u00e7a exc\u00e8ntrica de Scriabin que una acumulaci\u00f3 constant de calor acabaria causant la destrucci\u00f3 del m\u00f3n. El t\u00edtol de la pe\u00e7a reflecteix la destrucci\u00f3 ardent de la Terra, aix\u00ed com l&rsquo;acumulaci\u00f3 emocional constant i el crescendo al llarg de la pe\u00e7a, que finalment condueix \u00ab\u00a0cap a la flama\u00a0\u00bb.<\/p>\n\n\n\n<p>Aqu\u00ed teniu tamb\u00e9 un fragment d&rsquo;una entrevista de 1974 amb Vladimir Horowitz, transcrit de l&rsquo;angl\u00e8s:<\/p>\n\n\n\n<p>\u2026\u00a0\u00bbPer\u00f2 ell va ser el pare del piano modern, el pare del pianisme i el pare de la forma sonata. Extraordinari. Extraordinari.<br>Per aix\u00f2 m&rsquo;interessa tant. Si el m\u00fasic fa una donaci\u00f3, no m&rsquo;interessa ell, ni un percentatge de la seva m\u00fasica, ni res m\u00e9s. Nom\u00e9s s\u00e9 que \u00e9s bona m\u00fasica.<br>Aix\u00ed que estava interessat en Clementi, i en aquell moment, nom\u00e9s hi havia Clementi, s\u00ed. Scriabin, tamb\u00e9 pensava, era dif\u00edcil d&rsquo;entendre per al p\u00fablic. Per aix\u00f2 era reticent a tocar gaire, per\u00f2 va tocar molt de Scriabin.<br>Scriabin era un m\u00edstic al final de la seva vida. I en la seva imaginaci\u00f3, pensava que arribaria un dia en qu\u00e8 la calor destruiria el m\u00f3n. Hi creia; no sabia que l&rsquo;\u00e0tom es pogu\u00e9s inventar en aquell moment.<br>Va ser composta el 1912. El t\u00edtol d&rsquo;aquesta obra \u00e9s Cap a la Flama. \u00c9s molt moderna, molt percussiu. \u00c9s molt boig. \u00c9s molt dif\u00edcil d&rsquo;entendre. I \u00e9s una obra molt emocionant. S\u00ed, m&rsquo;he de treure la jaqueta. \u00c9s una obra dif\u00edcil. \u00c9s molt especial. \u00c9s m\u00fasica molt especial. \u00c9s un piano m\u00e9s percussiu.<em><br>\u00c9s una m\u00fasica una mica espantosa. Prepareu-vos per a un so potent. Si no em desplomo, estic b\u00e9.<\/em><br>D&rsquo;acord, anem-hi. \u00c9s dif\u00edcil. S\u00ed, ho \u00e9s.\u00a0\u00bb<br>Despr\u00e9s es treu la jaqueta, s&rsquo;asseu al piano i toca la pe\u00e7a, que acaba amb un esclat de riure, dient: \u00ab\u00a0<em>\u00c9s dif\u00edcil!<\/em>\u00ab\u00a0\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<h2 class=\"wp-block-heading\"><em>Prometeu<\/em> o el<em> Poema del foc<\/em>, op. 60<\/h2>\n\n\n\n<p>Prometeu o el poema del foc, op. 60 per a piano, cor, gran orquestra i una \u00ab\u00a0luce\u00a0\u00bb, una mena d&rsquo;orgue de color destinat a crear els efectes sinest\u00e8sics desitjats pel compositor.<\/p>\n\n\n\n<p>Viquip\u00e8dia sobre l&rsquo;orgue crom\u00e0tic: \u00ab\u00a0La part per a orgue crom\u00e0tic s&rsquo;anota en un pentagrama separat, a la clau de sol a la part superior de la partitura, i consta de dues parts: una canvia amb l&rsquo;harmonia i sempre es mou cap a la nota fonamental de l&rsquo;harmonia dominant, produint aix\u00ed el color que Scriabin associa amb cada tonalitat; l&rsquo;altra consta de notes molt m\u00e9s llargues, sostingudes al llarg de diversos compassos, i no sembla estar relacionada amb l&rsquo;harmonia (ni per tant amb la primera part), sin\u00f3 que ascendeix lentament per l&rsquo;escala, un to a la vegada, amb els canvis espaiats per diverses p\u00e0gines de la partitura, o per un minut o dos. La relaci\u00f3 entre aquesta part i la primera part, o amb la m\u00fasica en conjunt, no est\u00e0 clara.\u00a0\u00bb<\/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>La partitura no explica com s&rsquo;han de presentar dos colors diferents simult\u00e0niament durant una actuaci\u00f3. Aquesta secci\u00f3 de l&rsquo;orgue de colors tamb\u00e9 cont\u00e9 tres parts en un punt de la partitura. Les fonts difereixen pel que fa a les intencions de Scriabin per a la realitzaci\u00f3 de la part de l&rsquo;orgue de colors: molts afirmen que els colors s&rsquo;havien de projectar en una pantalla davant del p\u00fablic, per\u00f2 altres afirmen que havien d&rsquo;inundar tota la sala de concerts i que la seva projecci\u00f3 en una pantalla va ser simplement un comprom\u00eds adoptat despr\u00e9s que result\u00e9s impossible o impracticable inundar la sala de concerts. La partitura en si no cont\u00e9 cap indicaci\u00f3 de com s&rsquo;havia d&rsquo;aconseguir aix\u00f2.<\/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>Dues danses, <\/em><\/strong> Op.73 (1914)<\/h5>\n\n\n\n<p>A continuaci\u00f3 es mostra una proposta de coloritzaci\u00f3 de \u00ab\u00a0Garlands\u00a0\u00bb per Rob Colley, piano, i Sarah Colley, v\u00eddeo, per aproximar-se a l&rsquo;ideal visionari de Scriabin en el seu per\u00edode posterior.<\/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>Simfonia n\u00fam. 2<\/em><\/h5>\n\n\n\n<p>\u00ab\u00a0<em>La Segona Simfonia es va completar el 1901, un any despr\u00e9s de la Primera. \u00c9s la m\u00e9s tradicional de les seves simfonies pel que fa a l&rsquo;estructura formal. Els dos primers moviments (Andante, Allegro) es toquen sense interrupcions i estructuralment formen un moviment de sonata cl\u00e0ssica. En el tercer moviment (Andante), per\u00f2, fa un progr\u00e9s notable cap al so fortament crom\u00e0tic associat amb Scriabin madur. El moviment comen\u00e7a amb un cant d&rsquo;ocell tocat a la flauta, una altra caracter\u00edstica de Scriabin. La resta del moviment, amb les seves freq\u00fcents evocacions de cants d&rsquo;ocells i altres sons de la natura, \u00e9s com una llarga passejada on\u00edrica per la natura. Fins i tot el cl\u00edmax central \u00e9s natural. El quart moviment (Tempestuoso), un scherzo en menor, \u00e9s un moviment encantador, ple de turbul\u00e8ncies a les cordes, els timbals i els metalls, interromput breument en alguns llocs per passatges m\u00e9s l\u00edrics. Cap al final del moviment, la tonalitat modula a la major i condueix perfectament al moviment final, Maestoso, amb una majestuosa represa del tema inicial de la simfonia. Aquesta obra marca una fita significativa en l&rsquo;evoluci\u00f3 de Scriabin com a compositor, i encara va sorprendre una mica el seu p\u00fablic inicial quan es va estrenar a Sant Petersburg sota la direcci\u00f3 d&rsquo;Anatol Liadov el 12 de gener de 1902.<\/em>\u00a0\u00bb &#8211;<em> <\/em>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>Mysterium<\/em><\/strong> : <strong><em>Preparaci\u00f3 per al Misteri Final<\/em><\/strong><\/h5>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>\u00ab\u00a0No hi haur\u00e0 ni un sol espectador. Tots hi seran participants. L&rsquo;obra requereix persones especials, artistes especials i una cultura completament nova. El repartiment inclou una orquestra, un gran cor mixt, un instrument amb efectes visuals, ballarins, una process\u00f3, encens i articulaci\u00f3 r\u00edtmica textural. La catedral on t\u00e9 lloc no estar\u00e0 constru\u00efda amb un sol tipus de pedra, sin\u00f3 que canviar\u00e0 cont\u00ednuament segons l&rsquo;atmosfera i el moviment del Mysterium.\u00a0\u00bb Aix\u00f2 s&rsquo;aconseguir\u00e0 amb l&rsquo;ajuda de boires i llums, que alteraran els contorns arquitect\u00f2nics.\u00a0\u00bb<\/em> Alexander Scriabin<\/p>\n<\/blockquote>\n\n\n\n<p>El gran oratori sinest\u00e8sic \u00ab\u00a0Mysterium\u00a0\u00bb va ser completat, arranjat i orquestrat pel director d&rsquo;orquestra i compositor Alexander Nemtin (1936-1999) a partir dels esbossos de 72 p\u00e0gines compilats per Scriabin en un concert en tres parts titulat \u00ab\u00a0Preparaci\u00f3 per al Misteri Final\u00a0\u00bb.<\/p>\n\n\n\n<p>I. Univers<\/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. Home <\/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. Transfiguraci\u00f3<\/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>El Projecte<\/strong> (extracte de l&rsquo;article de la Viquip\u00e8dia)<\/p>\n\n\n\n<p>\u2026 Scriabin pretenia que aquesta pe\u00e7a apel\u00b7l\u00e9s a tots els sentits (a trav\u00e9s de dispositius com el seu \u00ab\u00a0teclat de llums\u00a0\u00bb o altres menys coneguts sovint imaginats pel mateix m\u00fasic, aix\u00ed com ritus, danses i car\u00edcies (fins i tot relacions sexuals), amb els espectadors participant de ple dret en la cerim\u00f2nia. La interpretaci\u00f3 d&rsquo;aquesta pe\u00e7a, les aspiracions m\u00edstico-filos\u00f2fiques de la qual estan lligades a les teories teos\u00f2fiques en qu\u00e8 Scriabin havia estat profundament interessat durant els seus darrers quinze anys, havia d&rsquo;anar seguida per la desaparici\u00f3 de la humanitat (o fins i tot de l&rsquo;univers) en \u00e8xtasi i la seva substituci\u00f3 per \u00e9ssers m\u00e9s \u00ab\u00a0nobles\u00a0\u00bb\u2026<\/p>\n\n\n\n<p>Si voleu escoltar les 2,5 hores d&rsquo;aquesta obra tit\u00e0nica sense interrupcions, aqu\u00ed teniu l&rsquo;enlla\u00e7 de YouTube:<br><a href=\"https:\/\/youtu.be\/xT92SvAIobY?si=oSVYhFPbVRwFUJO3\">https:\/\/youtu.be\/xT92SvAIobY?si=oSVYhFPbVRwFUJO3<br><\/a>Stanislav Kochanovsky, director Alexander Ghindin, piano Nadezhda Gulitskaya, soprano Cor de la R\u00e0dio Hongaresa Orquestra Nacional Belga \/ Concert p\u00fablic enregistrat el 2018 a Brussel\u00b7les.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Alexander Scriabin (1872-1915) \u00e9s una de les figures m\u00e9s originals de la m\u00fasica russa del segle XX.<br \/>\nDescobreix l&rsquo;evoluci\u00f3 del seu estil musical.<\/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":[254],"tags":[],"class_list":["post-6637","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr-ca"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Escolta musical n\u00fam. 69 Alexander Scriabin - Pigyki<\/title>\n<meta name=\"description\" content=\"Alexander Scriabin (1872-1915) \u00e9s una dfigura m\u00e9s originals de la m\u00fasica russa del segle XX. 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