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Scriabin - Le Poème de L' Extase (The Poem of Ecstasy), Op.54

Alexander Scriabin - Le Poème de L' Extase (The Poem of Ecstasy), Symphony [No. 4] in C major, Op. 54. Symphonic Poem written between 1905 and 1908, "The Poem of Ecstasy" is a metaphor for the Ecstasy of the Creation in general, a sacred orgy (although with a decidedly different philosophical foundation) and doesn't mean sexual, physical sex or orgasm lust. It is a theme of self-affirmation and self-fulfillment. His Poem of Ecstasy celebrates and glorifies his own creative powers, which would, according to his vision of reality, play a crucial role in the approaching transformation of the world. And while Scriabin's original version ended with the Nietzsche-inspired last line of "I am God," he changed it to a less controversial "I am" in his final version. For Scriabin, music was much more than just notes and sound. Many people thought Scriabin saw musical tones as colors, a condition known as SYNESTHESIA, and he longed to connect all of the senses in his work - hearing, sight, taste and smell. He began to see himself as a messianic figure and proclaimed that "the purpose of music is revelation. He approved the following text for the program notes at the premier: "THE POEM OF ECSTASY is the Joy of Liberated Action. The Cosmos, i.e., Spirit, is Eternal Creation without External Motivation, a Divine Play of Worlds. The Creative Spirit, i.e., the Universe at Play, is not conscious of the Absoluteness of its creativeness, having subordinated itself to a Finality and made creativity a means toward an end. The stronger the pulse beat of life and the more rapid the precipitation of rhythms, the more clearly the awareness comes to the Spirit that it is consubstantial with creativity itself. When the Spirit has attained the supreme culmination of its activity and has been torn away from the embraces of teleology and relativity, when it has exhausted completely its substance and its liberated active energy, the Time of Ecstasy shall arrive." The plans for "Orgiastic Poem" in his 1904 notebook where divided in four movements, into stages of mystical/evolutionary development. The detailed but incomplete plan contained references to philosophical concepts that disapeared by the time he completed the work, most importantly the notion of a "man-God" . This idea of the artist-as-God otherwise filled Scriabin's notebook until the "Ecstasy": "The man-God is the bearer of universal consciousness". Earlier in the same notebook, he made the connection more concrete and personal to - "I-God" - but as the theme developped he detached himself from explicit identification with Nietzschean man-God. As Scriabin's interest in Godliness eventually wanned, he erased the man-God completely, ultimately condensing the plan for the "Orgiastic Poem" into a single movement work. Scriabin wrote also a poem over three hundred lines long to accompany the music, though not to be recited with it. The poem tracks the ascent of a spirit into consciousness, catalyzed by the recurring appearance of "trembling presentiments of dark rhythms" that later transform into "bright presentiments of shining rhythms" as the spirit realizes the excitement of the struggle against them, contrasted with the "boredom, melancholy, and emptiness" felt after victory over them. Ectasy recounts the journey of the spirit from a static, leisurely to self-realization through challenge. In the opening lines of the poem, the spirit flies about aimlessly and lazily, which Scriabin reflects in plodding trochaic tetrameter. Suddenly this free play is interrupted by “disturbing rhythms/of dark presentment"' which the spirit eventually recognizes as a real threat. The spirit conquers, but finds itself bored With its return to unfulfilling stasis and begins to realize that it craves the battle. With each battle, victory, and return to stasis, the spirit attains a higher and more self-aware status: in this model of competition leading to still higher levels of rest, Scriabin's debt to Hegelian dialectics is most pronounced. Here the spirit affirms itself as a life-giver, constantly seeking challenges in order to evolve. The final line of the Poem stands as complete affirmation to the self "I am". Scriabin's adoption to the archaic verb lends this final line a Biblical sheen. "THE POEM OF ECSTASY" sounds are used to delineate mental and emotional states (an almost exclusively textural and harmonic narrative structure). At the opening, the flute gesture searches longingly, the clarinet dreams, and the trumpet foretells a still-distant victory. An equestrian stride commences, only to be abruptly halted to make room for an ardent violin solo. As the many levels of expression unfold the music is highly chromatic, but not particularly dissonant. A glorious climax draws the music to an appropriately ecstatic finish in C major - a key that had, for Scriabin, a cleansing and focusing quality. Wassily Kandinsky - "Composition VII", 1913.