symbology insome of Skrjabin’s
piano works, in “Journal of the Scriabin Society of
Vol.10, No.1, Winter 2005-2006, pp.41-55.
a formal point of view, Scriabin's invention seems to be rather simple with
frequent repetitions of phrases or whole sections. Yet it is necessary not
to dwell upon this first impression. One must try to determine whether the
use of repetitive and often symmetrical forms result from a possible hidden
structure expressing itself by numbers or proportions. In fact, according to
Scriabin, music was fundamentally a mathematical science.It is a tangible
manifestation of the hidden properties of numbers in accordance with an
ancient conception that dates back to Pythagoras from Samo.
use of schematics expressed itself primarily in a formal architecture square.
He would calculate the exact function of every note when he started the
composition of a new work. He maintained "form must be as clear as a
the importance of number in Scriabin's musical works, biographer Leonid
Sabaneev states that the composer based his works especially upon rational
structural formulas. According to Sabaneev, the omnipresence of number in
the Universe should also have an influence on the "Work of total
Art". Hence there is the utmost rigour in the derived structure. "Scriabin
loved to illustrate his thought by means of diagrams and graphs. He drew
them very accurately with a ruler and a compass. By the use of lines and
geometrical shapes, he tried to represent the relations among the world, man
and God, among reality, art and religion".
F.Bowers: Scriabin. A Biography of the Russian Composer, Tokio
and Palo Alto, Kodansha International Ltd (1969), II, p.332.
B.de Schloezer, Alexandre Scriabin, Moskva 1923, p.123.