The Mystic Scriabin in the Himalayas

Sometimes music is all we need to dive into some special world of art, beauty and comprehension. But when music is enhanced by other senses – vision, smell and touch – a powerful effect is created.

We know Alexander Scriabin as the music master who developed the atonal music language putting major focus on mysticism. He had a very special and unique musical system where colors and harmonies played the central role. Alexander Scriabin is considered to be the main symbolist composer of Russia. His music was both innovating and controversial, its influence later stretched on Stravinsky, Prokofiev, Roslavets, among others.

Despite all the fame and appreciation, Scriabin was very soon forgotten after his death in 1915. However, years passed and his music was re-evaluated, his contribution re-acknowledged.

Yesterday I came across this trailer and then watched the entire unique performance - a tribute to the great Russian composer.

I applaud to the idea itself, it is such a great thing to embody what Scriabin would have wanted. The multi-sensory performance organized in the Himalayas is a well-thought event that puts all the necessary highlights on Scriabin’s music values. The colors, the sounds, the height, the sacred mysticism of the Himalayas  - all that creates a perfect setting for the music of the talented symbolist.

Bach's Brandenburg Concerto No. 5 is for Harpsichord

Brandenburg Concertos composed by Johann Sebastian Bach are without exaggeration the most notable orchestral works of the Baroque period. There are six of them all in all, each composed at a different stage of Bach’s life, but all joined in a set to be presented to the Malgrave of Brandenburg-Schwedt – Christian Ludwig – in 1721.

Bach playing organ

Brandenburg Concertos embrace a wide range of music instruments and were unprecedented in many ways, in scoring particularly. Bach himself being an outstanding organ and harpsichord played, gave special spotlight to the harpsichord. In fact, his Brandenburg Concerto No.5 is the first concerto where a solo keyboard instrument has such an important part.

Too bad that these unique concertos were not given to the rights hands: Christian Ludwig was not a big connoisseur of music, so the Brandenburg Concertos were left without the proper attention until they got re-discovered in 1849 by Siegfried Wilhelm Dehn who found them in Brandenburg archives.

Many notable orchestras have performed the six famous works. The concertos were also played as chamber works. The two most famous batons under which these pieces sounded were those of Herbert von Karajan and Karl Richter. The latter also did a stunning harpsichord solo of the 5th concerto that definitely deserves to be listened to (start at 6:30):