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Send message Please wait Copy Event URL. Events are social. Allow Facebook friends to see your upcoming events? Yes Recommended Yes Recommended. No, keep my events secret No, keep my events secret. For the purposes of the present study, multiple occurrences of the same direction are counted multiple times. Each Italian or French expressive direction may be classified as one of four types, namely: everyday musical descriptors e.

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The list of French markings shows that the latter three categories are most prevalent in Opp. Based on the foregoing observations it may be instructive to view the sequence of French expressive markings in Opp. The Appendix contains the markings in question. The third column of Table 1 summarises our results for the frequency of French directions in each type of composition from Op. It is however somewhat arbitrary to use Op.

This yields the results in the fifth column of Table 1. A comparison of the third and fifth columns of Table 1 shows that the exclusion of the above works, most particularly Sonata 5 Op. Finally, in early he returned to live in Russia until his death in April [7], leaving only for short concert visits to Germany in February , to Holland in October , and to London in March The details of his locational biography are set out in Table 2.

The piano compositions from onwards can thus be divided into two main periods, namely Europe and Russia, as shown in Table 3, where it can be seen that the Opp. The analyses above require some explanation.

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We shall examine the evidence for each in turn. However, during —4, he appears to have exhibited a somewhat ambivalent attitude towards the French language. In late , when invited by Viscount de Gissac to write an open column for a philosophical weekly publication Scriabin declined on the grounds that he felt he did not know French well enough [10], although this may well have been a polite excuse to avoid entering into a regular commitment. He had previously written a word free-verse poem in French, programmatically describing the union of the soul with the divine, to accompany Sonata 4, Op.

It has been suggested that Scriabin enrolled into formal membership of its Belgian branch at this time [13,14], and that Delville may have introduced him to the Sons of the Flames of Wisdom , a secret Promethean cult within Theosophy [15], but solid documentary evidence for this has yet be produced.

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Taken altogether, it is clear that Scriabin carefully studied a very considerable amount of theosophical literature in French during — while he was resident outside Russia, and this would undoubtedly have improved his capacity to express his esoteric, occultist and mystical intentions for his music. Amongst the 19 th century Russian intelligentsia and aristocracy, French, although a foreign tongue, was widely spoken and was considered to be a language of culture and prestige, more refined than Russian.

The French poetic symbolist tradition is credited with being a significant influence on the Russian Silver Age poets, writers and musicians [22]. While he was resident outside Russia, Scriabin would have lost direct contact with the Russian symbolist movement, but he was able to re-establish those links on his eventual return to the motherland [23]. As a consequence, Scriabin was able to blend together their native symbolist ideas with what he discovered in the French theosophical literature into his own Russian texts for the Preparatory Act of the Mysterium , while still retaining French as the most appropriate vehicle for the expressive directions in his musical sketches and in the closely related two Danses Op.