Scriabin’s music is saturated with the mystical and heavily influenced by the psycho philosophical presence of his evolving thoughts throughout his life. Scriabin constructed his own self-mythology modeled on Romantic idealizations based on Nietzschean philosophy and Prometheon narrative. He combined this construction with his Symbolist aesthetics for total unity through mystical transcendence. The combining of these archetypes is seen in his Fantasy in B Minor, Op. 28. The Fantasy inhabits both psychological realities which manifests into different aesthetic characteristics. The presence of the more conservative nineteenth-century style alongside the Symbolist narrative elements are what make the Fantasy and elusive and transitory piece that represents the shifts occurring within Scriabin’s psyche during the dawn of the twentieth-century.
The Fantasy has been neglected by scholars but was written merely three years before all his pieces became drenched in the mystical. I therefore propose from my own analysis of the piece and from the evidence of Scriabin’s close associations to the Symbolist movement that the Fantasy, Op. 28 is driven by Symbolist mythological undertones within the thematic narrative. Evidence will be provided from close friends and acquaintances of Scriabin, his own writings, exploration of Romantic and Symbolist aesthetics, and evidence provided by previous scholarship on Scriabin’s theosophical beliefs.
|Commitee:||Shockley, Alan, Uranker, Mark|
|School:||California State University, Long Beach|
|Department:||Bob Cole Conservatory of Music|
|School Location:||United States -- California|
|Source:||MAI 58/01M(E), Masters Abstracts International|
|Subjects:||Music history, Music|
|Keywords:||Fantasy, Performing, Piano, Romanticism, Scriabin, Symbolism|
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