Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: Notesfiles; site uicsl.UUCP Path: utzoo!watmath!clyde!burl!hou3c!hocda!houxm!ihnp4!inuxc!pur-ee!uiucdcs!uicsl!gmk From: gmk@uicsl.UUCP Newsgroups: net.music.classical Subject: Re: Modern classical music, serialists p - (nf) Message-ID: <6700001@uicsl.UUCP> Date: Wed, 13-Jun-84 21:30:00 EDT Article-I.D.: uicsl.6700001 Posted: Wed Jun 13 21:30:00 1984 Date-Received: Fri, 15-Jun-84 00:18:56 EDT References: <368@astrovax.UUCP> Lines: 31 Nf-ID: #R:astrovax:-36800:uicsl:6700001:000:993 Nf-From: uicsl!gmk Jun 13 20:30:00 1984 #R:astrovax:-36800:uicsl:6700001:000:993 uicsl!gmk Jun 13 20:30:00 1984 This discussion of modern music has centered on the aesthetics (or lack thereof) of Schoenberg's 12-tone school. No one has mentioned one of the most brilliant composers of the Twentieth Century: Aleksandr Scriabin. Like Schoenberg, Scriabin developed his own mathematical system of composition. Personally, I find Scriabin's music much more "listenable" than 12-tone, even though it is just as far removed from tonality. Those interested should check out: Symphony No. 4: "The Poem of Ecstacy" Symphony No. 5: "Prometheus: The Poem of Fire" Universe: Part I of the Prefatory Action to the Proposed "Mysterium" The last work was actually composed by a contemporary Scriabin scholar named Aleksandr Nemtin from Scriabin's sketches. Part II may be available now; I haven't checked recently. Also, many of Scriabin's later piano compositions were trial runs for themes and ideas that were to be eventually incorporated into "Mysterium". Gary Koob ...!pur-ee!uiucdcs!uicsg!gmk