Form
Scriabin sometimes referred to The Poem of Ecstasy as his "fourth symphony", although it was never officially called such and avoids the traditional division into separate movements. Although played as a single movement, there are traces of the classical sonata key-scheme that Scriabin had employed previously, but it is no longer structurally important. As described by Bernard Jacobson:
The form depends instead on the constant interpenetration and cross-fertilization of a multiplicity of tiny thematic units, most of them so sinuously chromatic as to subvert tonal feeling almost entirely beneath the vertiginous onslaught of shifting harmonic colors.
Scriabin wrote a long poem to accompany, but not be recited with, the music. It ends with, "I am a moment illuminating eternity....I am affirmation...I am ecstasy."
Scriabin professed to evaluate music as being the most highly evolved of all the human arts. He also claimed that the emotion of ecstasy was the most highly evolved of all the human emotions. The Poem of Ecstasy attempts to combine these two aesthetic principles.
Modest Altschuler, who helped Scriabin revise the score in Switzerland in 1907, and who conducted the premiere with the Russian Symphony Society of New York on 10 December 1908, reported that Scriabin's implied program (which does not appear in the score) is divided into three sections as follows:
I. His soul in the orgy of love;
II. The realization of a fantastical dream;
III. The glory of his own art.
Read more about this topic: The Poem Of Ecstasy
Famous quotes containing the word form:
“The true critic is he who bears within himself the dreams and ideas and feelings of myriad generations, and to whom no form of thought is alien, no emotional impulse obscure.”
—Oscar Wilde (1854–1900)
“A novel which survives, which withstands and outlives time, does do something more than merely survive. It does not stand still. It accumulates round itself the understanding of all these persons who bring to it something of their own. It acquires associations, it becomes a form of experience in itself, so that two people who meet can often make friends, find an approach to each other, because of this one great common experience they have had ...”
—Elizabeth Bowen (1899–1973)
“I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.”
—Roy Lichtenstein (b. 1923)