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Alexander Scriabin is considered as one of the greatest musicians in the Russian history. Since the 1920’s, Scriabin’s music has undergone tremendous revolution. However from 1910 to 1925, Scriabin was a pianist and a composer who fancied idolatry and copious adulations. As a result, his music was no longer fancied although it was full of great visionary multimedia experiments and harmonic exploits (TYT musica 2009). During the early twentieth century, Scriabin’s music gained popularity due the Silver Age of Russian Culture that saw the rise of the symbolist movement based on philosophical and religious principles. Scriabin’s music gradually evolved and was characterized by apocalyptic thrusts and mystics overtones. Scriabin’s compositions were full of bold innovations as evident in his composition “Poem of Ecstasy,” which marked the beginning of his musical changes.
From 1910, Scriabin’s piano performance was characterized of rapid accurate notes, dramatic shifts in tempo, articulations and complex rhythms. His piano compositions were Scriabin reinterpreted the tonal expansion of the earlier composers. 1910 marked a division between the rising and the old nationalist school; as a result, his works were never influenced by the folklores. Scriabin’s works were mainly written for piano and he is acknowledged to have highly influenced the piano works of Liszt and Chopin though his evolved composition styles illustrated through his piano Sonatas ( TYT musica, 2009).Scriabin’s earlier works had a chromatic harmony that was not daring although he made use ostinatos. From 1903, Scriabin’s piano composition style evolved as he developed a harmonic composition language and construction methods. Scriabin’s later compositions were inspired by art, philosophy and religion to develop a new musical gospel that overshadowed the old gospel.