"Prometheus: The Poem of Fire" for Orchestra - Alexander Scriabin

Mariinsky (Kirov) Orchestra conducted by Valery Gergiev. Alexander Toradze as the pianist.

I - Lento. Brumeux - Comtemplatif - Joyeux - Étincelant - Voluptueux, presque avec douleur - Impérieux - Voilé, mysterieux - Sourd, menaçant - Soudain très doux et joyeux - Orageux - Déchirant, comme une cri - Très doux - Suave, charme - Victorieux - Sublime - Lumineux et flamboyant - Extátique - Presstisimo, ailé dansant - dans un vertige: 0:00

Scriabin's "Prometheus" was composed between 1908-10, being premiered on Moscow on March 2 of 1911, conducted by Serge Koussevitzky and with Scriabin at the piano. It is one of Scriabin's most ambitious works, written for large orchestra, piano, wordless chorus and colour keyboard. Despite the fact that the composer considered it his fifth symphony, the work also fuses elements from the symphonic poem and the piano concerto as well, all written in a single movement.

Scriabin had synesthesia, he could perceive colours from different tonalities around the circle of fifths; C major/minor was red, A major/minor would be green, E major/minor would be sky blue, etc. For this reason, the colour keyboard was conceived as an instrument that would fill the auditorium with each tonality colour according to Scriabin's perception. It wasn't until recent decades that his vision could be properly fulfilled. Apart of using extensive resources, the work is written in a single movement that abandons any traditional form, fully embracing the structural liberty of the symphonic poem.

As the title of the work implies, it is loosely inspired by the Greek myth of Prometheus, a titan who defied Zeus by stealing the fire from heavens and offering it to mankind. As a punishment, he was bound to a rock, and an eagle was sent to eat his liver. Prometheus liver would then grow back overnight, only to be eaten again the next day in an ongoing cycle. Prometheus was eventually freed from his torment by the hero Heracles. Scriabin also connected this mythical figure with Lucifer, the demon who brought knowledge of good and evil to mankind and was punished by God for that action. The composer himself identified with both figures, as he saw his music as the bringer of a spiritual transformation of mankind.

The work opens with a slow introduction, in which a six-note chord on the horns known as the Prometheus chord, from which the entire work is built on. A hexachord of fourths that represents the primitive chaos of the world. A muted trombone signal, using four notes of the aforementioned chord, begins the awakening of the will to create. Muted trumpet follows as well, before a gentle flute melody represents the dawn of human consciousness. The piano suddenly enters with the trombone signal, transformed into the theme of will as the main theme, answered by the flute theme on the wood. The piano then presents a second main theme of a lighter nature, representing the joy of life.

Alas, with the stirrings of self-consciousness come many perplexities, a vague desire for a more intense life, an increase of fresh pristine joy. Languor is also felt in a deeply lyrical and florid passage. An animated new theme appears on solo piano, virtuosic in nature. The opening theme then reappears passionately on cellos, marking an increasing desire and answered by the imperious theme of the trombone. Many of these motives are combined in an ecstatic passage before the piano takes the imperious theme, rising in a powerful and expressive climax, along a fragment of the theme of joy of life. A menacing gesture suddenly appears on muted trombone, followed by the theme of human love on the violin.

As we see, many of the themes are built on an upward motion, symbolic of man’s aspiring, yearning grasp for consciousness. A lyrical passage of a magical touch brings back the flute theme of human consciousness. The menacing trombone gesture returns, along the Prometheus chord, beginning a stormy and passionate development. All the themes and motives presented are employed, combined and transformed. Intense climaxes are reached with the will theme. The menacing motive then grows into a dissonant and ferocious climax. The recapitulation begins with the imperious theme on piano, answered by the languid theme on strings. A fast virtuosic passage ensues, encompassing all the material.

After a brief pause, the wordless chorus enters mystically. The trumpet, with the imperious theme, leads us to the work's most intense climax with the theme of self-affirmation, played by five trumpets, organ and choir. It follows a carefree cosmic dance, a moment of reflection entrusted to the piano, ending with the Promethean chord in F sharp major, the favourite of Scriabin, which corresponds to the colour blue, interpreted with solemnity.

Picture: "The Scourge" or "The Force" (1940) by the Belgian artist Jean Delville.

Sources: https://bit.ly/40RFCUA, https://bit.ly/40VU7Xo and https://bit.ly/3U4s2uL

To check the score: https://bit.ly/3G8oIJs