This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2008)

Prussia: 1 pfennig 1852. The obverse reads: 360 [make up] one thaler.

German Empire: 10 pfennig iron coin 1917

The  Pfennig (help·info) (German pronunciation: [ˈpfɛnɪç], abbreviation Pf, symbol ₰), plural  Pfennige (help·info), is an old German coin or note, which existed from the 9th century until the introduction of the euro in 2002.

While a valuable coin during the Middle Ages, it lost its value through the years and was the minor coin of the Mark currencies in the German Reich, the former Federal Republic of Germany (FRG, West Germany) and the German Democratic Republic (GDR, East Germany), and after the German reunification in the present Federal Republic of Germany until the introduction of the euro. Pfennig was also the name of the subunit of the Danzig mark (1922–1923) and the Danzig gulden (1923–1939) in the Free City of Danzig (German: Freie Stadt Danzig; Polish: Wolne Miasto Gdańsk).

As a currency sign the letter 'd' for 'denarius' in German kurrent script was used: ₰. This abbreviation has nearly fallen out of use since the 1950s, with the demise and eventual abolition of the Reichsmark with its Reichspfennig. The symbol is encoded in Unicode at U+20B0 ₰ german penny sign (HTML: ₰).

Etymology[link]

The British penny is etymologically related to the 'Pfennig', the Swedish penning, which was also model for the Finnish penni (1860–2001), the Polish fenig (1917–1918) and the fening of Bosnia and Herzegovina (1998–today).

The etymology of the Pfennig is not completely clear, but seems to rely on the way coins were minted during the Middle Ages: the base material were thin flat metal discs. The value was embossed from one side, creating a pan (German Pfanne)-like coin.

In some German countries (such as Prussia and Bavaria), coins had similar but different names, as Pfenning, Penning, Pending, Pfanding and Penny. This was for better handling due to different currencies (of different states within the Deutscher Bund) used simultaneously.

History[link]

In the 8th century, Charlemagne declared that 240 Pfennigs should be minted from a pound of silver. A single coin had mass of 1.3 grams, or 1.7 grams of after the coinage reform of circa 790. Until the 13th century, the pfennig was made from real silver, and thus of high value. From the 12th century on, the King was no longer able to enforce the regalia to mint coins, so many towns and local lords made their own coins, mostly using less valuable metals and less metal per coin, so different Pfennigs had different values.

Some renowned coins are the Häller Pfennig of Schwäbisch Hall, some centuries later called Heller and minted throughout the country, and the Kreuzer (from "Kreuz", the cross minted on the coins).

In the late 17th century the pfennigs had lost most of their value. The last Pfennig coins containing traces of silver are rarities minted in 1805.

The Mark gold currency, introduced in 1873 as currency of the newly founded German Reich, was parted as 1 Mark = 100 Pfennig. This partition was retained through all German currencies until 2001.

The last West German one- and two-Pfennig coins were steel with a copper coating, the five- and ten-Pfennig coins were steel with a brass coating. The latter was called Groschen, while the five-pfennig coin, half a groschen, was regionally (east of the river Elbe) also referred to as the Sechser (literally in English: sixpence), deriving from the former duodecimal division of the groschen. All four coins had their value imprinted on the obverse and oak on the reverse.

The coins of the Mark der DDR were made of aluminium, except for the 20 pfennigs coin, which was made of an aluminium copper alloy.

• 

  German Empire: 25 pfennig iron coin 1918. The word on the top means "wartime money".

• 

  Free City of Danzig: 10 pfennig 1932

• Pfennig 1950 Deutschland.jpg

  West Germany: 1 pfennig coin 1950

• 

  East Germany: 1 pfennig coin 1979

• 

  Rottweil: Rottweil pfennig, issued between 1200 and 1220

• 

  Nazi Germany:10 reichspfennig coin 1937.

Pfennig since the euro[link]

After the introduction of the euro, some, mainly older, Germans tend to use the term Pfennig instead of cent for the copper-coloured coins (and the term Groschen for the 10-cents-coin).^{[citation needed]}

Unicode[link]

The pfennig ligature is defined and coded in Unicode as follows:

See also[link]

• Bracteate
• Penny

v t e Currency signs (¤) Circulating ฿ B/. Br ₵ ¢ C$ ₡ ден. ₫ ֏ € ƒ Ft G ₲ ₴ Kč ₭ L L / E £ / ₤ лв. ₦ ₱ P Q R ﷼ ៛ RM Rp RSD/РСД ₹ ₨ S/. ৳ R$ $ ₪ ₸ ₮ VT ₩ ¥ zł Historic ₳ ₢ ₰ DM ₯ ₠ ₣ I/. Kčs Lm ℳ ₥ ₧ ℛℳ Sk ₷

Johanna von Koczian (born 30 October 1933 in Berlin) is a German actress. She grew up in Salzburg, Austria, where actor Gustaf Gründgens offered her a role at the Salzburg Festival. She later portrayed Anna Frank at the Schiller theater in Berlin, but her breakthrough in cinema was her role in the 1957 remake of Victor and Victoria.^[1] She has appeared in 60 films and television shows since 1955. She starred in the film The Marriage of Mr. Mississippi, which was entered into the 11th Berlin International Film Festival.^[2]

She is the daughter of a German soldier, Gustav von Koczian-Miskolcy, and his wife Lydia Alexandra. After a brief marriage with film director Dietrich Haugk which ended in divorce in 1961, Johanna von Koczian was married to music producer Wolf Kabitzky, who died in July 2004. She is the mother of German actress Alexandra von Koczian.^[1]

Selected filmography[link]

• Aren't We Wonderful? (1958)
• For the First Time (1959)
• The Marriage of Mr. Mississippi (1961)
• Derrick - Season 2, Episode 08: "Pfandhaus" (1975)
• Derrick - Season 3, Episode 05: "Schock" (1976)

References[link]

External links[link]

• Johanna von Koczian at the Internet Movie Database

This article about a German film actor or actress is a stub. You can help Wikipedia by expanding it. v t e

Mike Krüger
Krüger in 1986
Birth name	Michael Friedrich Wilhelm Krüger
Born	(1951-12-14) December 14, 1951 (age 60) Ulm, Germany
Medium	Stand-up, television, film
Spouse	Birgit
Website	http://www.mike-krueger.de

Mike Krüger (born Michael Friedrich Wilhelm Krüger, December 14, 1951 in Ulm) is a German comedian and singer.

This article about a German comedian or humourist is a stub. You can help Wikipedia by expanding it. v t e

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010)

The Springfields were a British pop-folk vocal trio who had success in the early 1960s in the UK, US and Ireland and included singer Dusty Springfield and her brother, record producer Tom Springfield, along with Tim Feild, later a noted Sufi writer, who was latterly replaced by Mike Hurst, who also became a noted record producer.

Career[link]

The trio formed in 1960, when Mary "Dusty" O’Brien, who had been a member of all-girl singing trio The Lana Sisters, joined her brother Dion O'Brien and Tim Feild, who had been working as a duo, "The Kensington Squares". Dion became Tom Springfield, and Mary became Dusty Springfield.

Tom Springfield was a songwriter and arranger with a wide knowledge of folk music and the group had strong vocal harmonies as well as Dusty’s powerful lead. Occupying a musical sphere comparable to that of the contemporary Peter, Paul and Mary they were signed to Philips Records and released their first single, "Dear John," in 1961, followed by two UK chart hits with "Breakaway" and "Bambino" – like their other records, produced by Johnny Franz.

The first recording contract the Springfields signed was offered by producer Johnny Franz at Philips Records in London. With early singles including "Breakaway" and "Bambino", and numerous television appearances, the trio soon became very popular in the UK. After Feild was replaced by Mike Hurst the Springfields became even more successful. In 1962, their version of "Silver Threads and Golden Needles" reached the US Top 20 (Billboard), #23 (Cash Box), the first single by a British group ever to do so (predating the Tornados’ “Telstar” by two months, and The Beatles by 15 months). The record also reached #1 in Australia.^{[citation needed]} It featured lead guitar by Judd Proctor. "Silver Threads and Golden Needles" sold over one million copies, and was awarded a gold disc.^[1]

"Island of Dreams" rose to the UK #5 at the beginning of 1963, and stayed in the charts for six months. The follow-up, "Say I Won’t Be There", was also #5 in the UK Singles Chart. By this time, the Springfields were one of the most popular groups in the UK. The group had several chart hits and had recorded several foreign language records. However, Dusty Springfield felt limited by the group's folk act and Tom's lead role within the trio and, towards the end of 1963, decided to leave for a solo career, at which point the group disbanded.

Personnel[link]

Discography[link]

Albums[link]

Singles[link]

References[link]

External links[link]

• AMG biography

Alexander Nikolayevich Scriabin

Alexander Nikolayevich Scriabin^[1] (Russian: Алекса́ндр Никола́евич Скря́бин; 6 January 1872 [O.S. 25 December 1871] – 27 April [O.S. 14 April] 1915) was a Russian composer and pianist. Scriabin's work initially possessed a lyrical and idiosyncratic tonal language in line with the innovations of Frédéric Chopin, but developed an increasingly atonal and dissonant sound. Scriabin is known for developing, independent of the advances of Arnold Schoenberg, an atonal musical system, accorded to mysticism. Scriabin innovated several new harmonic techniques initially based on romanticism but moving increasingly into contemporary musical atonality; he is known for associating colors with the various harmonic tones of his atonal scale. Scriabin was influenced by synesthesia, and his color-coded circle of fifths was also influenced by theosophy. He may be considered to be the main Russian Symbolist composer. Scriabin is also known for his eccentricities and mystical beliefs, which contributed to the angle at which he approached music and harmonization. Scriabin was one of the most innovative and most controversial of early modern composers. The Great Soviet Encyclopedia said of Scriabin that, "No composer has had more scorn heaped or greater love bestowed..." Leo Tolstoy once described Scriabin's music as "a sincere expression of genius."^[2]

While early works, including his first preludes and major works such as his piano concerto, exhibit strong tonal romanticism, even here Scriabin moves toward a progressively more modern sound. But his turn to sharp dissonance is notable in his later piano sonatas, especially the fifth.^{[citation needed]}

Scriabin had a major impact on the music world over time, and influenced composers like Roy Agnew, Nikolai Roslavets, Sergei Prokofiev and Igor Stravinsky, although Scriabin was reported to have disliked the last two.^[3] Scriabin's importance in the Soviet musical scene, and internationally, drastically declined. "No one was more famous during their lifetime, and few were more quickly ignored after death."^[4] In the 1970s, for instance, there were only three recordings of his complete (published) sonatas. Yet Scriabin's work has steadily regained popularity^{[citation needed]}; his piano music, particularly the sonatas, has grown in popularity with professional pianists in recent decades.

Biography[link]

Childhood and education (1872–1893)[link]

A young Alexander Scriabin (late 1870s).

Scriabin was born into an aristocratic family in Moscow on Christmas Day 1871, according to the Julian Calendar (this translates to 6 January 1872 in the Gregorian Calendar). His father and all of his uncles had military careers.^[5] When he was only a year old, his mother—herself a concert pianist and former pupil of Theodor Leschetizky—died of tuberculosis. After her death, Scriabin's father completed tuition in the Turkish language in St. Petersburg, subsequently becoming a diplomat and finally leaving for Turkey, leaving the infant Sasha (as he was known) with his grandmother, great aunt, and aunt. Scriabin's father would later re-marry, giving Scriabin a number of half-brothers and sisters. His aunt Lyubov (his father's unmarried sister) was an amateur pianist who documented Sasha's early life until the time he met his first wife. As a child, Scriabin was frequently exposed to piano playing, and anecdotal references describe him demanding his aunt play for him.

Apparently precocious, Scriabin began building pianos after being fascinated with piano mechanisms. He sometimes gave away pianos he built to house guests. Lyubov portrays Scriabin as very shy and unsociable with his peers, but appreciative of adult attention. Another anecdote tells of Scriabin trying to conduct an orchestra composed of local children, an attempt that ended in frustration and tears. He would perform his own immature plays and operas with puppets to willing audiences. He studied the piano from an early age, taking lessons with Nikolai Zverev, a strict disciplinarian, who was teaching Sergei Rachmaninoff and a number of other prodigies at the same time, though Scriabin was not a pensionaire like Rachmaninoff.^[5]

Zverev's students in the late 1880s. Scriabin, with military attire, is the second on the left. Rachmaninoff is the fourth from the right.

In 1882 he enlisted in the Second Moscow Cadet Corps. As a student, he became friends with the actor Leonid Limontov, although in his memoirs Limontov recalls his reluctance to become friends with Scriabin, who was the smallest and weakest among all the boys and was sometimes teased because of this.^[5] However, Scriabin won his peers' approval at a concert in which he played the piano.^[5] He ranked generally first of his class in academics, but was exempt from drilling due to his physique and was given time each day to practice at the piano.

Scriabin later studied at the Moscow Conservatory with Anton Arensky, Sergei Taneyev, and Vasily Safonov. He became a noted pianist despite his small hands, which could barely grasp a ninth. Feeling challenged by Josef Lhévinne, he damaged his right hand while practicing Franz Liszt's Réminiscences de Don Juan and Mily Balakirev's Islamey.^[6] His doctor said he would never recover, and he wrote his first large-scale masterpiece, his Piano Sonata No. 1 in F minor, as a "cry against God, against fate." It was his third sonata to be written, but the first to which he gave an opus number (his second was condensed and released as the Allegro Appassionato, Op. 4). He eventually regained the use of his hand.^[6]

In 1892, he graduated with the Little Gold Medal in piano performance, but did not complete a composition degree because of strong differences in personality and musical opinion with Arensky (whose faculty signature is the only one absent from Scriabin's graduation certificate) and an unwillingness to compose pieces in forms that did not interest him.^[5]

Career and later life (1894–1915)[link]

In 1894, Scriabin made his debut as a pianist in St. Petersburg, performing his own works to positive reviews. During the same year, Mitrofan Belyayev agreed to pay Scriabin to compose for his publishing company (he published works by notable composers such as Nikolai Rimsky-Korsakov and Alexander Glazunov).^[5] In August 1897, Scriabin married the young pianist Vera Ivanovna Isakovich, and then toured in Russia and abroad, culminating in a successful 1898 concert in Paris. That year he became a teacher at the Moscow Conservatory, and began attempting to establish his reputation as a composer. During this period he composed his cycle of études, Op. 8, several sets of preludes, his first three piano sonatas, and his only piano concerto, among other works, mostly for piano.

For a period of five years Scriabin was based in Moscow, during which time the first two of his symphonies were conducted by his old teacher Safonov.

According to later reports, between 1901 and 1903 Scriabin envisioned writing an opera. He talked a lot about it and expounded its ideas in the course of normal conversation. The work would center around a nameless heroe, a philosopher-musician-poet. Among other things, he would declare: I am the apotheosis of world creation. I am the aim of aims, the end of ends.^[5]

By the winter of 1904, Scriabin and his wife had relocated to Switzerland, where he began work on the composition of his Symphony No. 3 (or The Divine Poem). While living in Switzerland, Scriabin was separated legally from his wife. The Divine Poem was performed in Paris during 1905, where Scriabin was now accompanied by Tatiana Fyodorovna Schloezer—a former pupil and the niece of Paul de Schlözer.^[5] With Schloezer, he had other children, including a son named Julian Scriabin, who composed several musical works before drowning in the Dnieper River at Kiev in 1919 at the age of 11 years old.^[7] Scriabin may have also had some homosexual relationships.^[5]

Scriabin (sitting on the left of the table) as a guest at Wladimir Metzl's home in Berlin, 1910

With the financial assistance of a wealthy sponsor, he spent several years traveling in Switzerland, Italy, France, Belgium and United States, working on more orchestral pieces, including several symphonies. He was also beginning to compose "poems" for the piano, a form with which he is particularly associated. While in New York City in 1907 he became acquainted with Canadian composer Alfred La Liberté, who went on to become a personal friend and disciple.^[8]

In 1907 he settled in Paris with his family and was involved with a series of concerts organized by the impresario Sergei Diaghilev, who was actively promoting Russian music in the West at the time. He relocated subsequently to Brussels (rue de la Réforme 45) with his family.

In 1909 he returned to Russia permanently, where he continued to compose, working on increasingly grandiose projects. For some time before his death he had planned a multi-media work to be performed in the Himalayas Mountains, that would cause a so-called "armageddon", "a grandiose religious synthesis of all arts which would herald the birth of a new world".^[9] Scriabin left only sketches for this piece, Mysterium, although a preliminary part, named L'acte préalable ("Preparatory Action") was eventually made into a performable version by Alexander Nemtin.^[10] Part of that unfinished composition was performed with the title 'Prefatory Action' by Vladimir Ashkenazy in Berlin with Aleksei Lyubimov at the piano.^[11] The Mysterium was, psychologically, a world Scriabin created to sustain its own evolution.^[12]

Scriabin was small and reportedly frail, and a hypochondriac his entire life. At the age of 43, he died in Moscow from septicemia, contracted as a result of an infected boil on his lip or shaving cut.^[12]

Music[link]

Style and musical influences[link]

The introduction to Scriabin's Étude, Op. 8, No. 12.

	"Étude Op. 8 No. 12" Awadagin Pratt performs Alexander Scriabin's Étude, Op. 8, No. 12. at the White House Classical Music Student Workshop Concert. (2009-11-04) Étude Op. 8 No. 12 Étude, Op. 8, No. 12. played by Domenico Stigliani
Problems listening to these files? See media help.

Many of Scriabin's works are written for the piano. The earliest pieces resemble Frédéric Chopin's and include music in many forms that Chopin himself employed, such as the étude, the prelude, the nocturne, and the mazurka. Scriabin's music gradually evolved over the course of his life, although the evolution was very rapid and especially brief when compared to most composers. Aside from his earliest pieces, his works are strikingly original, the mid- and late-period pieces using very unusual harmonies and textures. The development of Scriabin's style can be traced in his ten piano sonatas: the earliest are composed in a fairly conventional late-Romantic manner and reveal the influence of Chopin and sometimes Franz Liszt, but the later ones are very different, the last five being written without a key signature. Many passages in them can be said to be atonal, though from 1903 through 1908, "tonal unity was almost imperceptibly replaced by harmonic unity."^[13]

Aaron Copland praised Scriabin's thematic material as "truly individual, truly inspired", but criticized Scriabin for putting "this really new body of feeling into the strait-jacket of the old classical sonata-form, recapitulation and all", calling this "one of the most extraordinary mistakes in all music."^[14] According to Samson the sonata-form of Sonata No. 5 has some meaning to the work's tonal structure, but in Sonata No. 6 and Sonata No. 7 formal tensions are created by the absence of harmonic contrast and "between the cumulative momentum of the music, usually achieved by textural rather than harmonic means, and the formal constraints of the tripartite mould." He also argues that the Poem of Ecstasy and Vers la flamme "find a much happier co-operation of 'form' and 'content'" and that later Sonatas such as Sonata No. 9 employ a more flexible sonata-form.^[13]

Philosophical influences[link]

Scriabin was interested in Friedrich Nietzsche's übermensch theory, and later became interested in theosophy. Both would influence his music and musical thought. During 1909–10 he lived in Brussels, becoming interested in Jean Delville's Theosophist philosophy and continuing his reading of Helena Blavatsky.^[13]

Theosophist and composer Dane Rudhyar wrote that Scriabin was "the one great pioneer of the new music of a reborn Western civilization, the father of the future musician", and an antidote to "the Latin reactionaries and their apostle, Stravinsky" and the "rule-ordained" music of "Schoenberg's group."^{[citation needed]} Scriabin developed his own very personal and abstract mysticism based on the role of the artist in relation to perception and life affirmation. His ideas on reality seem similar to Platonic and Aristotelian theory though much less coherent. The main sources of his philosophy can be found in his numerous unpublished notebooks, one in which he famously wrote "I am God". As well as jottings there are complex and technical diagrams explaining his metaphysics. Scriabin also used poetry as a means in which to express his philosophical notions, though arguably much of his philosophical thought was translated into music, the most recognizable example being the Ninth Sonata ('the Black Mass').

Influence of colour[link]

Keys arranged in a circle of fifths in order to show the spectral relationship.

Though these works are often considered to be influenced by synesthesia, a condition wherein one experiences sensation in one sense in response to stimulus in another, it is doubted that Scriabin actually experienced this.^[15][16] His colour system, unlike most synesthetic experience, accords with the circle of fifths: it was a thought-out system based on Sir Isaac Newton's Opticks. Note that Scriabin did not, for his theory, recognize a difference between a major and a minor tonality of the same name (for example: c-minor and C-Major). Indeed, influenced also by the doctrines of theosophy, he developed his system of synesthesia toward what would have been a pioneering multimedia performance: his unrealized magnum opus Mysterium was to have been a grand week-long performance including music, scent, dance, and light in the foothills of the Himalayas Mountains that was somehow to bring about the dissolution of the world in bliss.

In his autobiographical Recollections, Sergei Rachmaninoff recorded a conversation he had had with Scriabin and Nikolai Rimsky-Korsakov about Scriabin's association of colour and music. Rachmaninoff was surprised to find that Rimsky-Korsakov agreed with Scriabin on associations of musical keys with colors; himself skeptical, Rachmaninoff made the obvious objection that the two composers did not always agree on the colours involved. Both maintained that the key of D major was golden-brown; but Scriabin linked E-flat major with red-purple, while Rimsky-Korsakov favored blue. However, Rimsky-Korsakov protested that a passage in Rachmaninoff's opera The Miserly Knight accorded with their claim: the scene in which the Old Baron opens treasure chests to reveal gold and jewels glittering in torchlight is written in D major. Scriabin told Rachmaninoff that "your intuition has unconsciously followed the laws whose very existence you have tried to deny."

While Scriabin wrote only a small number of orchestral works, they are among his most famous, and some are performed frequently. They include a piano concerto (1896), and five symphonic works, including three numbered symphonies as well as The Poem of Ecstasy (1908) and Prometheus: The Poem of Fire (1910), which includes a part for a machine known as a "clavier à lumières", known also as a Luce (Italian for "Light"), which was a colour organ designed specifically for the performance of Scriabin's tone poem. It was played like a piano, but projected coloured light on a screen in the concert hall rather than sound. Most performances of the piece (including the premiere) have not included this light element, although a performance in New York City in 1915 projected colours onto a screen. It has been claimed erroneously that this performance used the colour-organ invented by English painter A. Wallace Rimington when in fact it was a novel construction supervised personally and built in New York specifically for the performance by Preston S. Miller, the president of the Illuminating Engineering Society.

Scriabin's original colour keyboard, with its associated turntable of coloured lamps, is preserved in his apartment near the Arbat in Moscow, which is now a museum dedicated to his life and works.

Performers and legacy[link]

Scriabin himself made recordings of 19 of his own works, using 20 piano rolls, six for the Welte-Mignon, and 14 for Ludwig Hupfeld of Leipzig.^[17] The Welte rolls were recorded during early February 1910, in Moscow, and have been replayed and published on CD. Those recorded for Hupfeld include the Piano Sonatas, Op. 19 and Op. 23.^[18]

Scriabin's music has also been performed by Sergei Rachmaninoff, Vladimir Horowitz, Arthur Rubinstein, Sviatoslav Richter, Vladimir Sofronitsky, Wojciech Kocyan, Andrei Gavrilov, Bernd Glemser, Emil Gilels, Ruth Laredo, Marc-André Hamelin, Evgeny Kissin, Claudio Arrau, Vladimir Ashkenazy, Stanislav Neuhaus, Michael Ponti, Glenn Gould, Roberto Szidon, Robert Taub, Dimitri Alexeev, Matthijs Verschoor, Piers Lane, Stephen Coombs, Nikolai Demidenko, John Ogdon, Alfred Cortot, Evgeny Zarafiants, Mikhail Pletnev, Daniele Conti, Boris Berezovsky and Eric Le Van. Swedish pianist Maria Lettberg has recently made an acclaimed recording of all Scriabin's piano music with opus numbers. Australian pianist Roger Woodward has made recordings of the late works of Scriabin as well as Scriabin's Piano Concerto.

Pianists who have performed Scriabin to particular critical acclaim include Vladimir Sofronitsky, Vladimir Horowitz and Sviatoslav Richter. Sofronitsky never met the composer, as his parents forbade him to attend a concert due to illness. The pianist said he never forgave them. Rubinstein premiered the Fifth Sonata in the West.^{[citation needed]} Horowitz performed for Scriabin as an 11-year-old child, and Scriabin had an enthusiastic reaction, but cautioned that he needed more training.^[19] As an elderly man, Horowitz remarked that Scriabin had nervous tics and could not sit still for long.^[19]

Scriabin's funeral was attended by such numbers that tickets had to be issued. Rachmaninoff went on tour, playing only Scriabin's music. Sergei Prokofiev admired the composer, and his Visions fugitives bears great likeness to Scriabin's tone and style. Another admirer was the British-Parsi composer Kaikhosru Sorabji who strenuously collected the obscure works of Scriabin while living in Essex as a youth. Sorabji promoted Scriabin even during the years when Scriabin's popularity had decreased greatly. Scriabin's great-great-grandson Elisha Abas is a concert pianist who divides his time between New York and Israel.^[20]

The work of Roslavets, unlike that of Prokofiev and Stravinsky, is often seen as a direct extension of Scriabin's. Unlike Scriabin's, however, Roslavets' music was not explained with mysticism and eventually was given theoretical explication by the composer. Roslavets was not alone in his innovative extension of Scriabin's musical language, however, as quite a few Soviet composers and pianists such as Sergei Protopopov, Nikolai Myaskovsky, and Alexander Mosolov followed this legacy until Stalinist politics quelled it in favor of Socialist Realism.^[21]

Media[link]

• Scriabin's own recordings for the Welte-Mignon have been replayed in modern times and transferred to audio.

	Prélude Op. 11, No. 1 (728 kB) Prélude Op. 11, No. 2 (1492 kB) Mazurka Op. 40, No. 2 (677 kB) Prelude No. 1, Op. 67 Performed by Jennifer Castellano. Courtesy of Musopen, 1.87 mB
Problems listening to these files? See media help.

Eponym[link]

Asteroid 6549 Skryabin is named for the composer.^[22]

Relatives[link]

Scriabin was the uncle of Metropolitan Anthony Bloom of Sourozh, a renowned bishop of the Russian Orthodox Church who directed the Russian Orthodox diocese in Great Britain between 1957 and 2003. Scriabin's daughter Ariane (1906..1944) was born in Italy, converted to Judaism taking the name Sarah and married the Russian poet and Jewish WWII Resistance fighter David Knout. She was responsible for communications between the command in Toulouse and the partisan forces in the Tarn district and for taking weapons to the partisans, which resulted in her death being ambushed by the French Militia.

See also[link]

• Synthetic chord
• Mystic chord
• Atonality
• Romantic music
• 20th century classical music

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Alexander Scriabin

Wikisource has the text of a 1922 Encyclopædia Britannica article about Alexander Scriabin.

Wikimedia Commons has media related to: Alexander Scriabin

• Rachmaninoff and Scriabin: Creativity and Suffering in Talent and Genius by Emanuel E. Garcia
• Scriabin Society of America
• The mythical time in Scriabin by Lia Tomás
• Was Scriabin a Synaesthete? by B. Galeyev & I. Vanechkina
• Scriabin in Aspen No.2 on UBUWEB (A short biography by Faubion Bowers; four preludes and the tenth sonata available for download)
• Alexander Scriabin discography at MusicBrainz
• Aleksandr Scriabin – MIDI files (subscription needed)
• Works by or about Alexander Scriabin in libraries (WorldCat catalog)
• Scriabin Liner Notes Russian-born pianist Yevgeny Sudbin discusses Scriabin's work and life.

Scores[link]

• Free scores by Alexander Scriabin at the International Music Score Library Project
• Scriabin's Sheet Music by Mutopia Project
• Free scores by Alexander Scriabin in the Werner Icking Music Archive (WIMA)
• www.kreusch-sheet-music.net — Free Scores by Alexander Scriabin

Recordings[link]

• Scriabin's own recording of the third and fourth Movements from his Piano Sonata, no. 3, Op. 23 (The Pianola Institute)*
• Piano Rolls (The Reproducing Piano Roll Foundation)