The paper seeks to analyse the musical work of Scriabin focusing on his contribution to changes in music composition and performance. Scriabin Preludes Scriabin music performances are some of the greatest pieces in piano performance. Critics have observed that Scriabin performance of Prelude Op. 11 No. 2 did not reflect the traditional trends in playing notes using piano (Leikin 136). In this piece, Scriabin breaks slurs then mixes non-legato with short motifs or the staccato notes. The old Guard performance does not display any of the above techniques in mixed notes or creating staccato notes to cut short a phrase that should be long. This means that the performance would not only display new techniques, but will create advent of a new genre in piano performance. Some critics have observed that the Scriabin created romantic convention, which enabled the spinning of long musical lines (Leikin 161). It is important to note that the combination that brought the legato notes and staccato notes created new performance in the Prelude Op. The notes make the tonal variation and rhythmic balances different from the Old Guard. Prelude OP. 11 is one of the admired pieces that many other composers have thought of performing because of the great composition that combined various components in music. Scriabin composition borrows its attributes from Beethoven and Mozart. Mozart and Beethoven projected short slurs with rare crossing of lines (Chang 20). It is notable that Scriabin prolonged the slurs and crossed the lines to come up with a combination that was perfect. Critics have attributed the performance to Scriabin accident that led him to use the left hand more than the right hand (Damare 77). The notes played in the concerto are quite high and are unique because no composer or pianist had played such notes especially when using the left hand. The sterling tempo in the concerto Prelude 11 performance stunned many artists because it did not only increase its tempo towards the climax, but also the arrangement of note that created the effects. Critics observed that the tempo of the music often fluctuated but surprisingly remained stable without creating any disorder (Damare 79). The turbulent sound that streams due to the high notes played in the concerto did attract many viewers during Scriabin’s performances. Scriabin’s songs emulated Russian folk tunes, which had asymmetrical rhythms. The Preludes took the 5/8 motivic structures. Critics have observed that Scriabin concerto resembled the songs of Nikolai Rimsky-Korsakov, Igor Stravinsky, and Modest Mussorgsky (Chang 23). It is important to note that Scriabin did not perform his tunes the traditional way but incorporated the new ideas to sing notes that were higher than the traditional notes played on the piano. Scriabin used piano to play his notes; although piano was not new to Scriabin or his audience, the concerto music that he played had new notes which demonstrated a new style of performance. The Prelude OP. 11 comprises of new notes that his predecessors had not played. Scriabin’s childhood was very instrumental to his skills as a composer and a pianist. Born of a mother who was a pianist (though she died when he was one year old), Scriabin took piano lessons with Nikolai Zverev. That teacher was strict in instilling discipline to his students. When Scriabin joined the Cadet Corps, he demonstrated an interest in music by becoming a friend of Leonid Limontov.
Name Institution Course Instructor Date Alexander Scriabin The musical talents of Alexander Scriabin have attracted praises for many decades. Scriabin composed and played piano in his own style, thereby contributing to the avant-garde. Scriabin did not only entertain soviet nationals, but also music lovers across the world…
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