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The Philosopher and the Pianist Behind Alexander Scriabin's Early Piano Music by Xuefei Liu a Thesis Submitted to the Moores S

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The Philosopher and the Pianist Behind Alexander Scriabin's Early Piano Music by Xuefei Liu a Thesis Submitted to the Moores S The Philosopher and the Pianist behind Alexander Scriabin’s Early Piano Music by Xuefei Liu A thesis submitted to the Moores School of Music, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance Chair of Committee: Paul A. Bertagnolli Committee Member: Tali Morgulis Committee Member: John L. Snyder Committee Member: Todd Van Kekerix University of Houston May 2021 Copyright 2021, Xuefei Liu ACKNOWLEDGEMENTS I would like to make a brief comment on the history of my research and I am grateful to those who have influenced or helped me along the way. My first exposure to Scriabin’s music came from my first piano teacher back in China, Mr. Xu Ning, who assigned me the Etude in C-sharp minor, op. 42, no. 5. During my undergraduate years, I came to admire Vladimir Horowitz’s performance of the Etude in D-sharp minor, op. 8, no. 12, recorded at the famous Carnegie Hall recital in 1968. The profoundly expressive harmonies and the dazzling tone colors of this music were a source of endless fascination to me. Through my study over the years, I became familiar with other works of Scriabin, and I have learned and performed many of his works. I would like to express my sincerest thanks to my supervisor, Dr. Paul A. Bertagnolli and all members of my research committee, Dr. Tali Morgulis, Dr. John L. Snyder, and Dr. Todd Van Kekerix for their patience and advice during this journey. I have been fortunate to have a committee with a vast amount of experience and knowledge in all fields relevant to my thesis. In the early stage of my research, I worked with Dr. Barbara Rose Lange, and I am extremely grateful for her support. Without their guidance, this thesis would not have come to fruition. I would also like to thank the staff at the Moores School of Music Library, especially Ms. Madelyn Shackelford Washington, who helped me with research materials during the Covid-19 pandemic. My heart-felt thanks to all my applied teachers throughout my college years, Dr. Tali Morgulis, Mr. André-Michel Schub, and Dr. John Olsen. My debt to them is evident iii throughout. For the challenge and inspiration of their teaching and scholarship and for their generosity and concern as friends I shall always be grateful. Without their support this thesis might not have been completed. Last but not least, I wish to thank my parents and family for their love and encouragement, without whom I would never have enjoyed so many opportunities. To my many friends, you should know that your support and encouragement was worth more than I can express on paper. iv ABSTRACT Analyses of Alexander Scriabin’s (1872-1915) music and discussions of his spiritual beliefs typically center around his middle and late periods, which started after 1903. By contrast, musicians often designate the music of his early period before 1903 as late- Romantic because it follows the footsteps of Frédéric Chopin. This thesis will argue that Scriabin’s early compositions share many influences that are generally associated with his later music. Scriabin’s emerging philosophical interests are essential to an understanding of his early compositions. In addition, as an accomplished pianist and performer, Scriabin’s performance style also influenced his compositions and provides vital insight into his individual convictions. This thesis will draw on Scriabin’s piano roll recordings and recollections of his performances, as well as letters and notebooks of Scriabin, memoirs from Scriabin’s students, and reviews of Scriabin by his contemporaries to show a strong connection between Scriabin’s early music and his spiritual beliefs. v TABLE OF CONTENTS ACKNOWLEDGEMENTS ......................................................................................... iii ABSTRACT .................................................................................................................. v TABLE OF CONTENTS ............................................................................................. vi LIST OF FIGURES ................................................................................................... viii LIST OF MUSICAL EXAMPLES ............................................................................ viii Introduction .................................................................................................................. 1 Chapter 1: Biographical Context and Developing Philosophy.................................... 4 Further Studies and Early Career ....................................................................... 7 Scriabin’s Spiritual Beliefs and Developing Philosophy.................................... 11 Conclusions ..................................................................................................... 16 Chapter 2: Philosophy in Scriabin’s Performance Practice ...................................... 17 Scriabin’s Russian Musical Education ............................................................. 17 Scriabin as Performing Pianist and Teacher ..................................................... 20 Scriabin’s Piano Rolls...................................................................................... 25 Rubato ............................................................................................... 27 Dynamics ........................................................................................... 37 Pedaling ............................................................................................. 38 vi Articulation and Phrasing ................................................................... 40 The Philosophy Behind Scriabin’s Performance .............................................. 44 Conclusion ................................................................................................................... 49 REFERENCES ........................................................................................................... 51 APPENDIX A: Scriabin’s Piano Roll Recordings ..................................................... 53 vii LIST OF FIGURES 2.1 Tempo changes per half note in Alexander Scriabin’s Welte-Mignon piano roll recording of the Prelude, op. 11, no. 1 (1910) ..................................................... 27 viii LIST OF MUSICAL EXAMPLES 2.1 Scriabin, Prelude, op. 11, no. 2, mm. 33-48. Tempo changes in performance. Scriabin, Welte-Mignon piano roll recording, 1910 ......................................... 29 2.2 Scriabin, Prelude, op. 11, no. 2, mm. 1-3. Tempo changes in performance. Scriabin, Welte-Mignon piano roll recording, 1910 ......................................... 30 2.3a Scriabin, Prelude, op. 11, no. 1, mm. 1-2. Notations in the score ........................ 32 2.3b Scriabin, Prelude, op. 11, no. 1, mm. 1-2. Rhythmic alterations in Scriabin’s performance ......................................................................................................... 32 2.4a Scriabin, Prelude, op. 11, no. 2, mm. 7-10. Notations in the score ...................... 33 2.4b Scriabin, Prelude, op. 11, no. 2, mm. 9-10. Rhythmic alterations in Scriabin’s performance ......................................................................................................... 33 2.5a Scriabin, Prelude, op. 11, no. 2, mm. 62-64. Notation in the score ..................... 34 2.5b Scriabin, Prelude, op. 11, no. 2, mm. 63-64. Rhythmic alterations in Scriabin’s performance ......................................................................................................... 34 2.6a Scriabin, Prelude, op. 11, no. 14, m. 18. Notations in the score .......................... 35 2.6b Scriabin, Prelude, op. 11, no. 14, m. 18. Rhythmic rendition in Scriabin’s performance ......................................................................................................... 35 2.7a Scriabin, Prelude, op. 11, no. 2, m. 13-16. Notations in the score ....................... 41 2.7b Scriabin, Prelude, op. 11 no. 2, m. 16. Articulations in Scriabin’s performance . 41 2.8a Scriabin, Prelude, op. 11, no. 2, mm. 19-24. Notations in the score .................... 41 2.8b Scriabin, Prelude, op. 11, no. 2, m. 24. Articulations in Scriabin’s performance ......................................................................................................... 42 2.9 Scriabin, Prelude, op. 11, no. 2, mm. 37-40. Articulations in Scriabin’s performance ......................................................................................................... 42 ix Introduction The music of the Russian pianist-composer Alexander Scriabin (1872-1915) is the product of a special and complex mind. Scriabin’s obsession with his own spiritual beliefs earned him a reputation in history as an eccentric, but his philosophy also had a significant impact on his performance style and compositional process. Russian musicologist Boris de Schloezer discerned a “special relationship between his philosophy and his artistic aims,”1 which is most noticeable in the works of Scriabin’s middle and late periods. Analyses of Scriabin’s music and discussions of his extra-musical convictions typically center around these two complex periods, which began after 1903. By contrast, musicians often overlook the music of his early period before 1903 because its late-Romantic style follows in the footsteps of Frédéric Chopin. A few studies of his early music focus on analysis without considering its philosophical influence. However, despite the fact that Scriabin’s early
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