Alexander Scriabin - Prometheus: The Poem of Fire, Op.60 (Golovanov - Goldenweiser - USSR RSO)

"I am a moment illuminating eternity...I am affirmation...I am ecstasy."
-Alexander Scriabin

Alexander Scriabin (1870 - 1915)
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Prometheus: The Poem of Fire, Op.60 (1910)
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Nikolai Golovanov (1891 – 1953)
Alexander Goldenweiser (1875 – 1961)
USSR Radio Symphony Orchestra
Recorded in 1947

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Prometheus: The Poem of Fire, Op. 60 (1910), is a tone poem by Alexander Scriabin for piano, orchestra, optional choir, and a color organ which was invented by Preston Millar.

Prometheus is only loosely based on the myth of Prometheus. It premiered in Moscow on 2 March 1911. A typical performance lasts about 20 minutes.

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The work is scored for the following instruments.

Woodwinds: 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon

Brass: 8 horns, 5 trumpets, 3 trombones, tuba

Percussion: timpani, glockenspiel, tubular bells, cymbals, tam-tam, triangle, bass drum

Strings: 2 harps, violin I, violin II, violas, cellos, double basses

Keyboard: clavier à lumières (ad lib), celesta, piano solo, organ

Voice: chorus (ad lib)

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Prometheus starts with the mystic chord invented by Scriabin, which he called “the chord of the pleroma (referring to divine powers)”. A tense and mysterious atmosphere is created. The “contemplatif” section has long sustained notes played by flutes, reflecting that when one contemplates the unity of the whole, one can be much detached from the sense of time and space. The introduction of piano symbolises the chaos in the disordered world, particularly due to the use of highly dissonant and complex chords in the piano part.

Spectral Relationship of Notes as the music goes on to “Joyeux” section, it reflects a component in ecstasy, joy. The joy is due to the liberation of oneself from the physical body and one should liberate oneself from the physical body before being able to have ecstasy. This process is completely mystical, as it eliminates rationality and logic. The indication “délicat, cristallin” (delicate, crystalline) represents the crystal-like purity in ecstasy, as humans are no longer in the physical world and are free from the chaos in the reality. The indication “voluptueux” (giving pleasure to the senses) reflects that there will be a certain spiritual level that we will fuse with the world, the Divine, and the objects.

There are constant struggles and contrasts between reality and ecstasy in the beginning. The indication “presque avec douleur” (almost with pain) represents the pain that humans suffer in the physical world as our desires are not satisfied.

The Musico-Chromo-Logo Schema developed by Vanechkina and Galeev. The indication “avec un intence désir” (a very intense desire) gives us a hint that desires can be fulfilled in ecstasy and give human beings euphoria, where for Scriabin it may be more related to sexuality. The use of trills and tremolo depicts the trembling excitement brought by the experience. There have been many attempts to achieve a climax, but all of them fail. It symbolises that human beings are created, but there is still no illumination, so the climax (i.e. highest level of ecstasy) is still not yet reached.

A misty, mysterious atmosphere is created again. The colour projected changes from mainly blue to red, which hints that the appearance of fire. Suddenly, the music is filled with sweetness and joy, as ecstasy can bring luscious moments to human beings. The indications “avec défi, belliqueux” (with defiance, aggressive) and “avec un splendide éclat” (with a magnificent splendour) are probably the preparatory steps to the highest level of ecstasy. To be fully immersed in the world of ecstasy, we must forget all the things in the physical world and be defiant. At this point, the colour of the stage changes from red to golden yellow, portraying extreme delight and joy.

Here comes the entry of the chorus. The singing further enhances the mystery and majesty of the music. Meanwhile, it turns the performance more into a religious event, praising Prometheus for his good deeds. The piece ends with a radiant, powerful, luminous F-sharp major triad, which implies that full ecstasy can finally be achieved because of the existence of illumination.

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This piece has a strong reference to symbolism, trying to combine mysticism and ecstasy and link the realistic with the supernatural. Prometheus has given us insights into Scriabin’s belief of mystical experience, which includes humans’ “oneness” with the cosmos and Divine and the liberation of humans from the “physical” time and space. Besides giving a joyous exaltation, ecstasy provides humans with a hidden ladder, leading from our ordinary life to the Divine level, allowing humans to experience transcendental feelings. There will be no longer a boundary between oneself and the world, but instead a sense of eternity and spiritual oneness.