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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>
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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