Scriabin and Russian Symbolism

Abstract

X THEN BORIS PASTERNAK characterized the beginning of V V the twentieth century as the era of Scriabin,1 he restated i personal and poetic terms a phenomenon that had already been recognized by the public at large; by the leaders of an extraordinary flowering of the arts-musicians, poets, painters, theatrical giants; and by such elders and contemporaries of Scriabin's in the political arena as L nacharsky a Plekhanov. His music, the latter wrote, his era transposed into sound ... it so fully expressed the mood of a very significant part of our intelligentsia at a particular period of its history.2 The memorial services, the funeral, the tributes, an the published and unpublished commemorations repeatedly demonstrate t e feeling that Russia's leading figure in the arts had died, that in some quintessential way Scriabin was the epitome of his era, the incarnation of its tendencies and expressive modes as well as the most revolutionary composer of his time and

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