Ever since I was a child, I was drawn to mysteriesānot just in books or films, but in life itself. I was fascinated by things that felt just out of reach, layered with meaning I didnāt yet understand. Maybe thatās why I couldnāt resist the enigma of a composer whose name kept coming up.
I first heard about him from my mom. She told me he wasnāt just a musicianāhe was a visionary with radical ideas. He believed that art could be a form of religion, that music had the power to transform the world. To him, composing wasnāt just about creating beauty; it was a sacred act. He saw himself as a kind of spiritual leaderāa Messiah, because of his belief in the transcendental force of music. Of course I am talking about Alexander Scriabin.
This intrigued me. A composer who saw sound as a cosmic experience? Someone who believed music could elevate human consciousness? I had to know more.
But at my school, no one played his music, even though students performed insanely difficult works by other composers, his was left untouched. His music was reserved for the āafter school ageāāfor conservatory students, for Bachelors and Masters. And this only made me more curious.
Years later, when I finally decided to dive in, I started with Sonata No. 4. Thatās when I first encountered the true complexity of his world. His music was deeply emotional, harmonically bold, and strangely spiritual. It felt like it came from another dimension. But at the same time, something was missing.
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šSpecial thanks to
@prosperoclassical for the release of this album, to
@benedikt_alphart for his amazing mastering work and to Gesellschaft Freunde der KUG for the sound postproduction support!
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@deniszhdanovpianist
Concept & design:
@elinaakselrudphotography
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