Leonardo
Was Scriabin a Synesthete? Author(s): B. M. Galeyev and I. L. Vanechkina Reviewed work(s): Source: Leonardo, Vol. 34, No. 4 (2001), pp. 357-361 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1577166 . Accessed: 15/03/2012 09:23
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http://www.jstor.org HISTORICAL PERSPECTIVE Was Scriabin a Synesthete?
B.M. Galeyev and I.L. Vanechkina
ABSTRACT
Thissurvey and summary O.i ur research group, originally merely an ama- tic theorizing, let us leave this of documentarymaterial on teur is now the academic Prometheus Institute-so for another time and Scriabin's"color hearing" is being group, question presentedfor consideration byre- named because, since our first light-enhanced performance in limit ourselves to the question searchersstudying his ideas of the U.S.S.R. of Scriabin's Prometheus:The Poem of Firein 1962, posed in the title of the paper. At light-musicsynthesis. On the basis we have continued to explore and develop Scriabin's ideas of the same time let us forgo any of theiranalysis, the authors con- artistic synthesis (see publications in English [1,2]). The analy- analysis of the literature on the cludethat the nature of Scriabin's "color-tonal"analogies was asso- sis of the genesis of Scriabin's "light symphony" idea, realized subject that has accumulated over ciative,i.e. psychological;accord- by the inclusion of the "Luce"part in the Prometheusscore [3- the last 80 to 90 years. Let us in- ingly,the existing belief that 9], resulted in our publication of a special monograph on the stead recall the words of Scriabinwas a distinctive,unique subject [10] (aspects of this research were also published in Leonardo da Vinci: "Why drink "synesthete"who really saw the in several shorter The course of this from if can drink from a soundsof music-thatis, literally English papers [11-14]). ajug you hadan ability for "co-sensa- work brought us to an investigation of Scriabin's "color hear- fountain?" If a skein is tangled, tions"-isplaced in doubt. ing," because it was generally taken for granted that the "Luce" one merely has to find the begin- part was closely connected with this phenomenon. ning of the thread. In this case we Turning to the literature on "color hearing" (and, more have an advantage: Scriabin's generally, on synesthesia, of which "color hearing" is a specific originals are easier for us to access than they are for our West- case), we encountered the following phenomenon. In both ern colleagues. And that is why we feel it our duty to recon- Russian and foreign literature, and in popular and scientific struct and to present the original materials, so that it may be literature, from the beginning of the century, something like possible to determine at last: Was Scriabin an actual the following statement, made as if axiomatic and requiring no synesthete or not? Let us turn to the facts: the composer's proof, has circulated: "There exists a unique (strange, won- own confessions, as documented by his contemporaries; the drous, mysterious, etc.) faculty of human psychics, an inherent handwritten documents preserved in his archives; and, of ability in some individuals-so-called synesthetes-to see the course, the materials on his "color hearing" published in sounds of certain instruments or certain tonalities as various Scriabin's lifetime, evidently with his approval. This is the colors." This statement has been based on the supposition that only possible way, if not to make all things clear, then at least this vision is real, constant and even inborn, beyond the will of not to become a victim of the trivial misapprehensions that the individual.Justification of this supposition has relied upon may arise from using information obtained at second- or the etymology of the term "synesthesia"itself as "co-sensation" third- (etc.) hand. [15]. Of greatest importance for this article, however, is that The author of the first special publications on Scriabin's Scriabin has been mentioned without fail as first in a list of "light symphony" and his "color hearing" was his friend and such synesthetes (usually followed by such well-known names biographer Leonid Sabaneyev (1881-1968). Educated in as Rimsky-Korsakov,Kandinsky, Chiurlionis and Messiaen). both the conservatory and the university (in the natural sci- Side-by-side with our pride that among these names there ences), he concerned himself with this aspect of Scriabin's appeared a large number of representatives of Russia (joke!), creative work more actively than other researchers. His first doubts crept in: if the creation of the "light symphony" was special paper, "On Sound-Color Correlation," appeared in determined by the composer's unique (strange, mysterious, the Russian magazine Muzykaearly in 1911, coincident with a etc.) faculties, would this imply that the light-music itself is an publication of the score of Prometheus[16]. Only a month anomalous, unique (strange, mysterious) art? And must the later, Sabaneyev mentioned Scriabin's "color hearing" in the spectators of this art, to adequately apprehend the ideas of same magazine in connection with the discussion of the "light such a composer, also be unique synesthetes? Where then symphony" idea [17]. This text on Prometheusis of special could we find them-such a collection of the strange and value because, in German translation and with some addi- mysterious? And if we were able to find them, could it be guaranteed that their perceptions would not clash with one B.M. Galeyev (artist, researcher), Institute "Prometei," K. Marx Str., 10, KGTU, Kazan, Russia. E-mail: another (because practically all these researchers have as- 420111,
? 2001 ISAST LEONARDO, Vol. 34, No. 4, pp. 357-361, 2001 357 tions from the first paper, it was soon re- sounds, on the other hand, engender relations between various notes and col- printed in the famous collection of ar- various moods, often similar to one an- ors. One can see that the composer tried ticles The Blue Rider,giving access to in- other, therefore-the association of col- to build up a conception of some kind. formation about Scriabin's "color ors and sounds arises" [23]. It is hard to judge to what exactly it ap- hearing," albeit in brief, to a Western Sabaneyev was careful not to insist on plies, but the connection of this list with readership [18]). Sabaneyev published this interpretation, leaving a decisive an- "color hearing" or the "Luce"part (con- more serious material on this "color swer for the future. But his own observa- ditioned by the latter), is obvious. The hearing" a year after the composer's tions on Scriabin's "color hearing"-to main point here is that Sabaneyev also death, as a separate paper [19] in a be accurate, "color-tonal" hearing- specifically noted in his reminiscences chapter on the light-symphony in his seem to substantiate his conclusions. about Scriabin the mentally contrived monograph on Scriabin [20]. In these As is known, every musician has a per- character of his correlations. The com- latter sources, however, it is sometimes sonal semantics of tonalities and an poser did not want to believe that his as- hard to distinguish Sabaneyev the biog- emotional and symbolic conception of sociations were not compulsory for ev- rapher from Sabaneyev the commenta- them, formed in the course of upbring- eryone. He believed that they were tor. So his above-mentioned papers of ing and creative development. It cannot universal. "It cannot be personal," said 1911 and, especially, the diary records of be the same for all people, as was sup- Scriabin firmly, "there must be a prin- 1910-1915 about his meetings with posed by the eighteenth-century expo- ciple, must be oneness. A freak of Scriabin, which Sabaneyev managed to nents of the so-called theory of affects chance-is a ripple on the surface, and publish in 1925, before his emigration to (or, more generally, "normative aesthet- the essential must be common" [26]. In France, are of greatest importance for us ics"). This semantics of tonalities de- searching for this commonality Scriabin [21]. Another basic reliable source on pends on one's age, one's artistic school- built up a system of color-tonal analo- the problem that interests us is a paper by ing, the style in which a musician gies: "The three colors, which are clear the English psychologist Charles Mayers, works-in brief, on history and artistic to me, gave me three supports," he said, written after a special 1914 appointment context and also on personal creative confessing that he derived the colors of with Scriabin in Cambridge [22]. preferences. other tonalities "theoretically" [27]. All other publications on Scriabin's So differences are inevitable, but this Given his aim to create a system of all "color hearing"-both in Russia and does not imply absolute chaos. Com- these associations, he juxtaposed the "al- abroad-are secondary sources or, at best, poser R. Schumann clearly noted in his lied colors" (arranged in a spectrum) are based on the materials mentioned well-known work The Characteristicsof To- and the "allied tonalities" (as is known, above (no other reliable material exists, nalities:"We cannot say that this or that this alliance is obvious when they are ar- except for particularpassages in the remi- feeling, to be fully expressed, calls for ranged into the so-called circle of niscences of his contemporaries). translation into music by means of fifths). Sabaneyev wrote: In his earlier papers, instead of the namely this and not any other tonality." noticed this conventional term "color hearing," But neither could he agree with those Having consistency, Scriabin filled in missing links in the Sabaneyev used his own term, "hearing who "assert that in every tonality every- scale of color-sound accordance and of colors." At first he declared this phe- thing can be expressed" [24]. Corre- came to the inner certaintythat he was nomenon to be "strange" and "rare," spondingly, one's own semantics of col- right in his theoretical premise. In then and to ors can be formed in cultured other words, he began to search the "interesting" appropriate every of his consciousnessfor those as- musicians with a "sensitive individual. It is natural to that depths imagination expect sociationsthat followed from his theory, and good ear." In this case he always colors and tonalities "similar to one an- and found it easyto call them in [28]. placed in inverted commas the words other" (as Sabaneyev said) may become "audial vision," "color hearing," "color- connected by association in the con- Moreover, the effect of Scriabin's self- ing" and "sound vision"-as if to accen- sciousness of an individual (this is suggestion, dependent on the unques- tuate by this means their non-literal, called, in exact psychological terms, "as- tioned belief in the "principle" he had metaphorical character. In his search for sociation by similarity"). conceived, was so great that he con- the true nature of "color hearing," Let us return to Scriabin. Under the fessed to Mayers (of course, if it was not Sabaneyev, like Scriabin himself, laid influence of various factors, including merely a coquetry of an artist before a aside from the very beginning the idea his enthusiasm for Theosophy, the com- scientist), that he sometimes anticipated of searching for some "physical"expla- poser distinguished "spiritual"tonalities a change of colors before a change of nation for it. It is informative that from (e.g. F sharp major) from "earthly,""ma- tonalities itself even took place. the very beginning of his discourse on terial" ones (C major, F major) [25]. In addition, Scriabin's belief in the Scriabin's "color hearing," Sabaneyev Correspondingly, he ascribed certain universal validity of the system he pro- readily used the term "association." At characteristics to colors: red is a "color posed was such that he gave no explana- the same time, being educated in the of Abaddon," blue and violet, colors of tions of it in the score of Prometheus- natural sciences, he was always drawn to "reason", "spiritual" colors. Therefore, what colors lie behind the particular the idea of explaining "color hearing" as their juxtapositions are a matter of notes of "Luce" (and these notes, as we a purely "physiological" phenomenon. course: C major and F major are red and have shown, are fine indications of tonal But there he was embarrassed by the F sharp major, deep blue. For Scriabin and harmonic changes; so, "Luce" is a subjective, personal character of "asso- these particular associations were most colored visualization of this tonal-har- ciations of light sensation." evident and vivid. And for other tonali- monic plan, closely connected with the This then inspired Sabaneyev to sug- ties? In the Scriabin Museum's archives philosophic program of Prometheus;but gest a possible psychological explana- there is a list of these, without a date or this is a subject for other research [29]). tion for "color hearing", writing, in title, written in Scriabin's own hand. It In any case, accepting Scriabin's sys- 1911, "Colors, on the one hand, and includes several differentversions of cor- tem of "color hearing" (to be more ac-
358 Galeyevand Vanechkina,Was Scriabin a Synesthete? curate, the system of his analogies) as E major: blue, sapphire, bright often) let us take stock of Scriabin's list. given, we have conceived, for con- B major: gloomy, dark blue with steel The theoretical character of his analo- venience's sake, a graphic notation of it shine gies becomes more evident here, be- (Fig. 1) [30]. F sharp major: greyish-green cause it is clear that, having exhausted Sabaneyev first published a table of D flat major: darkish, warm the familiar colors of the spectrum, Scriabin's "color-sound" correspon- A flat major: greyish-violet Scriabin also included achromatic col- dences as far back as 1911. In its con- E flat major: dark, gloomy, grey-bluish ors at the end of the list-for tonalities E tents it largely recapitulates our scheme B flat major: darkish flat and B, for example. Sometimes he in Fig. 1, but in Sabaneyev's handwritten F major: green, clear (color of even called them "ultra-red"and "ultra- notes it assumes more familiar form: greenery) violet," i.e. unseen colors (as, let us note, C: red First of all, let's note that in Scriabin's they were also identified by Mayers!). G: orange-pink list, Sabaneyev designates tonalities with Being a psychologist, a specialist in the D: yellow capital letters: C, G, D, etc. (without the field of "color-hearing"research, Mayers A: green extension "dur", i.e. major). This is specially emphasized the mental and even E: whitish-blue widely accepted among musicians, espe- artificial character of Scriabin's system of B: similar to E cially in twentieth-century music. color-tonal analogies. He also was in- F sharp: blue, bright Sabaneyev had a further compelling rea- clined to see their origin in associative D flat: violet son for this decision, because in derivation, but noted that many (includ- A flat: purplish-violet Prometheus,Scriabin's harmony was al- ing Scriabin) formed their "color hear- E flat: steel color with metallic sheen ready practically outside the framework ing" correspondences under the guidance B flat: similar to E flat of the traditional major-minor system. It of a trivial intention to compare different F: red, dark is unfortunate that some researchers, es- "homologous sequences" (such as the al- For comparison, Sabaneyev included pecially those who are not musicians, phabet, the sequence of natural numbers, beside this list a table of composer take these signs-C, G, D, etc.-for des- the spectrum, the sonic scale, the fifths Rimsky-Korsakov'scolor-tonality associa- ignations of notes and ascribe to circle of tonalities, etc.). But let us correct tions published shortly before in the Scriabin a nonsensical version of "color Mayerson this point: Scriabin's analogies Russian press [31]: hearing" with elementary, "physical" are not so mechanistic in their motiva- C major: white matter (i.e. seeing in colors the separate tion: his correlations are based on the G major: brownish-gold, light tones of the "octave spectrum"). equivalence of "complexity"of tonalities D major: daylight, yellowish, royal After this remark (regrettably neces- and colors (Schumann had defined tonal- A major: clear, pink sary, because this mistake occurs rather ity "complexity" as the number of alter-
Red (Intense)
1. The scheme Deep Red Fig. Orange of "color hearing" correspondences, G by A.N. Scriabin.
Rose (or Steel) Yellow
B - D
/
Flesh (Glint of Steel) Green Eb v A
Blue (or Pearly Blue) / E Violet or Lilac Ab -- cb ' / ** .\ Sky Blue 9 or Frost)
Dbe
Violet or Purple \ B
Blue (or Pearly Blue)
Violet or Purple
Bright Blue or Violet
Galeyev and Vanechkina, Was Scriabin a Synesthete? 359 14. I. Vanechkina and B. "Prometheus ation signs in the designation of tonali- "prohibited area" where T. Gautier (in Galeyev, (Scriabin + Kandinsky)," Leonardo31, No. 3, 183- ties; in its turn, color "complexity"can be his work "The Fanciers of Hasheesh") 185 (1998). defined according to its place in a spec- and C. Baudelaire (in his book Artificial 15. We have already noted that the root of the an- trum: colors at the red end are "simpler" Paradises)would go and where Scriabin cient Greek word "synesthesia," aesthesis can be than colors at the blue end). refused, declining with resentment an translated both as "sensation" and as "feeling," and even as "sense" the In with Scriabin's, offer to his consciousness (this polysemy, by way, also ex- comparison Rimsky- change by ists in the root "sense" in English). See B. Galeyev, Korsakov's color-tonal associations, as such brute means [44]. But that, as they Man, Arts, Technique(A Problemof Synesthesiain Arts) notes, have a more natural, is a for another novel. (Kazan, Russia: KGU Press, 1987) p. 104 (in Rus- Sabaneyev say, plot In this the and of character. That is let us We it if to sian). book, possibility necessity spontaneous why, regard possible, necessary, regarding "synesthesia" exactly as "co-sensation," add here, Rimsky-Korsakov'scorrelations prove, based upon the documentary evi- "co-imagination" or "co-representation" is shown. were to Scriabin's that Chiur- apparently preferred dence, Rimsky-Korsakov, 16. L. Sabaneyev, "On Sound-Color Accordance," speculative scheme, at least by those mu- lionis and Kandinsky also were not Muzyka No. 9 (29 January 1911) pp. 196-200 (in sicians who lived and worked in Russia in "synesthetes"in the clinical sense of this Russian). the mid-twentieth century (this was word, which implies the normal ability 17. L. Sabaneyev, "Prometheus," Muzyka No. 113 shown in our opinion poll of the mem- of metaphorical thinking to be some (26 February 1911) pp. 287-294 (in Russian). bers of the Composers' Association of "brain anomaly." 18. L. Sabaneyev, "'Prometheus' von Skriabin," in Der Blaue Reiter 57-68. the U.S.S.R. in the 1960s and 1970s It is, furthermore, interesting to note (Munich, 1912) pp. [32]). This does not mean that one of that the German word for "timber" is 19. L. Sabaneyev, "Scriabinand the Phenomenon of them, or Scriabin, had of can we Colored Hearing in Connection with the Light Sym- Rimsky-Korsakov klangfarbe ("color sound"); sovremennikNo. 4- "better" or "worse" "color then consider the whole phony 'Prometheus,"' Muzykalny hearing." population of 5 (Petrograd, 1916) pp. 169-175 (in Russian). Rimsky-Korsakov proceeded from his Germany "synesthetes"? 20. L. Sabaneyev, Scriabin (Moscow: Skorpion, personal understanding and Scriabin 1916) (2nd Ed. 1923) (in Russian). from his it was also relevant that (perhaps References and Notes 21. L. Reminiscencesabout Scriabin the former Sabaneyev, (Mos- had perfect-pitch hearing cow: Muzsector Gosizdata, 1925) (in Russian). and the latter, as is known, relative [33]). 1. B. Galeyev, "Music-Kinetic Art Medium: On the Work of the 'Prometei' 22. Ch. "TwoCases of TheBrit- If we use a method of re- Group (SKB) Kazan, Mayers, Synesthesia," complex U.S.S.R.," Leonardo9, No. 3, 177-182 (1976). ishJournal of Psychology7, Part 1, 112-117 (1914). search in arts [34], it becomes clear that 2. B. "Fire of Prometheus:Music-Kinetic Art 23. 200. Scriabin associations to further Galeyev, Sabaneyev [16] p. arranged Experiments in the U.S.S.R.," Leonardo21, No. 4, his initial aim: that the 383-396 (1988). 24. R. Schumann, "Characteristicsof Tonalities," in "light" part Aesthetics Vol. 3 should the effect of the mu- History of (5 vols.), (Moscow: "duplicate" 3. B. Galeyev, "Scriabin and Eisenstein (Cinema Iskusstvo, 1967) pp. 368-369 (in Russian). sic (later he this idea of and Visual Music)," VolgaNo. 7 (1967) pp. 150-162 gave up "dupli- 25. In this we use notation for tonali- cation" as trivial Such an un- (in Russian). text, English [35,36]). ties. One should keep in mind that in Russian origi- derstanding of synthesis reflected a 4. B. Galeyev, "Scriabin and Development of the nal sources, a slightly different notation is used. attitude to the Idea of Visual Music," in Music and thePresent No. 6 theosophical-symbolistic (Moscow: Muzyka, 1969) pp. 77-142 (in Russian). 26. Sabaneyev [21] p. 48. search for esoteric, universal "correspon- 27. 203. dences" a artist, Scriabin 5. I. Vanechkina, "The Idea of Synthesis of Music Sabaneyev [21] p. (being great and Light in the Creative Work ofA.N. Scriabin," in 28. 171. overcame this attitude in the post- Light and Music ConferenceProceedings (Kazan, Rus- Sabaneyev [19] p. Prometheus of his creative work sia: KAI, 1975) pp. 42-44 (in Russian). period 29. I. Vanechkina, "'Luce'-A Beam Lightening Scriabin's Later in Scriabin: [37,38]). A close analysis shows that, in 6. I. Vanechkina, "The Experiments of Art Group Harmony," Man, Artist, Thinker Scriabin's Scriabin his "color- SKB 'Prometei,"' in Materials of the Conferenceof (Moscow: Museum, 1994) pp. general, regarded 137-146 (in Russian). sound "color YoungScientists and Specialists of Tatarstan (Kazan, synesthesia" (or hearing") Russia: KAI, 1971) pp. 63-65 (in Russian). as less than 30. This scheme first appeared in Russian editions; important "light-sound syn- 7. I. see I. Vanechkina, "On Scriabin's Colored esthesia" the latter al- Vanechkina, "On the Light-Color Designs of Hearing," ("light hearing"); A.N. Scriabin," in Matters of History, Music Theory in Proceedingsof the Third"Light and Music"Conference lowed him to attain an effect of and Musical UpbringingNo. 2 (Kazan, Russia: KGPI, (Kazan, Russia: KAI, 1975) p. 33 (in Russian); B. or in the music 1972) pp. 119-152 (in Russian). Galeyev, Light Music:Emergence and Essenceof the New "effulgence" "luminosity" Art (Kazan, Russia: Tatknigoizdat, 1976) p. 111 (in itself even without real light [39,40]. But 8. I. Vanechkina and B. Galeyev, "Conception of Russian). Then it was shown (with the reference to to address all these of the Synthesis of Arts of A.N. Scriabin," Proceedingsof the the above publications) in the preface of one of the aspects prob- Third and Music" Russia: last American editions of the score of lem the of our title. "Light Conference(Kazan, Prometheus,writ- oversteps question KAI, 1975) pp. 24-30 (in Russian). ten by E Bowers. See: A. Scriabin, Poemof Ecstasyand To summarize this we share Prometheus:Poem of Fire,in full score(New York:Dover, point, 9. I. Vanechkina, "'Luce'-A Clue to Scriabin's 1995) p. 114. In this edition, tonality in Messiaen's opinion; his own "visions"of Later No. 4 designations Harmony," Sovietskayamuzyka (1977) the scheme are given in English notation, different color in music were 100-103 (in Russian). much clearer than pp. from the Russian designations. In the scheme of Fig. he 1, we the Scriabin's; nevertheless, regarded 10. I. Vanechkina and B. Galeyev, "ThePoem of Fire": preserved English designations. To aid in the of Russian books, such words as or Scriabin's (Kazan, understanding "synesthete" "synesthe- Conceptionof Light-MusicSynthesis here is the list of of tonalities Russia: KGU Press, 1981) (in Russian). English designations sia" with suspicion. According to his with Russian analogs in brackets: C (C), G (G), D own account, his "seeing" of colors in 11. I. Vanechkina, "Castel and Scriabin: Evolution (D), A (A), E (E), B (H), F sharp (Fis), D flat (Des), of Ideas," in From Castel to Our A flat (As), E flat (Es), B flat (B), F (F). music was brought to life by the "inner Light-Music Times, Proceedings of the Conference(Clermont-Ferrand, Keys "major"and "minor"are equal to "dur"and vision," conditioned by his mind, and France: Universite B. Pascal, 1995) pp. 23-29. "moll" in Russian notation. One can find other small variations in color-hue names over the could not be compared with what, for many 12. I. Vanechkina, "Genesis of Alexander Scriabin's years of publications on "color hearing". example, a person perceives while un- 'Light Symphony,"' Ostranenie-97,exh. cat. (Dessau, der the influence of when Germany: Bauhaus, 1997) pp. 50-56. 31. V. Yastrebtsev, "On N.A. Rimsky-Korsakov's drugs, any- Color-Sound one can indeed become a Contemplation," Russkayamuzykalnaya "synesthete," 13. I. Vanechkina, "Where Do 'The Blue Riders' gazetaNo. 39-40 (1908) pp. 842-845 (in Russian). involuntarily beholding real color im- Gallop? Schoenberg, Kandinsky and Scriabin on not but chemi- Synthesis of Arts," in I. Vanechkina, Schoenbergand 32. I. Vanechkina, "A Resume of Inquiry on Consis- ages inspired by spirit by Kandinsky:An HistoricEncounter (Haag: Royal Con- tencies in 'Colored Hearing' among Members of cals [41-43]. But here we step into that servatory, 1998) pp. 95-99. Composers' Association of the USSR,"in Papersof VI
360 Galeyevand Vanechkina,Was Scriabin a Synesthete? All-Union Acoustic Conference(Moscow: Academy of Luria in his famous research on the "Sh."phenom- (Kazan, Russia: Conservatory, 1999) pp. 112-116 Sciences of the U.S.S.R., 1968 [in Russian]). In the enon: A. Luria, TheMind of a Mnemonist.A LittleBook (in Russian). course of this inquiry, almost all our correspondents about a VastMemory (New York: Basic Books, 1968). 39. B. "To Color and Evolution specially emphasized the associative, metaphoric But in this case Saragev is of more interest for us be- Galeyev, Light! (On of Gravitational in in I. nature of "color hearing" in music and excluded cause, being a musician, he "saw"the colors of musi- Synesthesia Music)," Vanechkina and B. 93-97. from the artistic sphere any clinical cases of "color cally organized sounds. Galeyev [38] pp. See I. "Soviet Musicians and hearing." Vanechkina, 40. I. Vanechkina and B. "The Real Ori- in TheArt LuminousSounds 34. I. Vanechkina, "Complex Approach to the Re- Galeyev, Light-Music," of (Kazan, of Scriabin's of Russia: 89-110 (in search on A.N. Scriabin's Light-Music Conception," gins conception 'Light Symphony,"' KAI, 1973) pp. Russian). in New in Cultureand conference in Problemof ComplexResearch of Art Creativity(Kazan, Technologies Arts, Russia: NII 33. The relativity of Scriabin's musical hearing was Russia: KGU Press, 1980) pp. 107-115 (in Russian). proceedings (Kazan, "Prometei," 1995) 5-7 noted by the famous poet Boris Pasternak after per- pp. (in Russian). sonal contact with Scriabin. See B. Pasternak, On Arts 35. B. Galeyev and I. Vanechkina, "From 'Prometheus' to in The Art 41. C. Samuel, Entretiensavec OlivierMessiaen (Paris: (Moscow: Iskusstvo, 1990) p. 41. The determination 'Mystery,'" of Luminous Sounds 29-66 P. Belfond, 1967) pp. 32-56. of "color hearing" (its brightness, nuances, perma- (Kazan: KAI, 1973) pp. (in Russian). absolute is nence) by hearing emphasized by many 36. B. "The Not Automatic 42. 0. Messiaen, Musique et couleur (Paris: P. Of interest in this context for those who Galeyev, Organic Entire, people. study 266- Belfond, 1967) pp. 41-45. real is the of the musician K. 'Translation,'" (Leningrad: Nauka, 1977) pp. "synesthetes" example 268 (in Russian). Saragev.He is not known at all in the West, has been 43. H. Watts, "Canyons, Colours and Birds," Tempo little studied in Russia and yet is worth studying using 37. I. Vanechkina, "Scriabin, Theosophy, Synesthe- 128 (March) pp. 2-8. from to interpretations aesthetic neuroscientific. He sia," in ModernLaokoon: Aesthetic Problems of Synesthe- "heard" in and in natural 44. Sabaneyev [21]. tonality people phenomena sia, conference proceedings (Moscow: MGU Press, be (it might "siwith 112 flats"!) and had his own con- 1992) pp. 14-16 (in Russian). sistent system of "color-tonal hearing." See A. Tzvetayeva, N. Saradgev.Master of Magic Chime(Mos- 38. I. Vanechkina and B. Galeyev, "New Mistakes cow: Muzyka, 1986; Gosizdat, 1988). His unique abil- Are the Well-Forgotten Ones," in Musical Sciencein ity was close to that of Shereshevsky,described by A.R. the Middle Volga Region: Results and Perspectives Manuscript received 25 October 1999.
Galeyevand Vanechkina,Was Scriabin a Synesthete? 361