The composer’s worldview and the content of the musical work (on the example of the works of P. Tchaikovsky, A. Scriabin)
A real revelation for the music lover can be an acquaintance with the worldview of the composer. To do this, in addition to listening to the works of a musical genius, you should refer to his articles and memoirs, letters, read his biography carefully. Then, the inquisitive explorer will discover the unexplored mysteries of musical creations, and this will give him immense aesthetic pleasure.
IN SEARCH OF THE MEANING PI. Tchaikovsky is known throughout the world not only as an outstanding composer, but also as a prominent representative of Russian musical and culturological thought of the 19th century. He had a keen interest in religion, philosophy, and literature. All the musical heritage of the composer is the result of an intense search for ideological meaning. Tchaikovsky seeks spiritual support in Orthodoxy, and then leans towards the pessimistic philosophy of A. Schopenhauer and F. Nietzsche. Such spiritual quests give rise to the imperious and formidable “theme of rock” (“fatum”, “fate”), which has become the leader in his music of the mature period of creativity. Significant works of the composer of the 80s: the symphonies – the fourth and sixth, the opera “The Queen of Spades”, the symphonic poem “Manfred” are the offspring of the painful spiritual experiences of the great composer, in which the “theme of rock” plays the leading role. Pyotr Ilyich did not like to talk about the content of his writings, believing that in the language of words it would be taken for simplicity. Approaching the conception of these works by Tchaikovsky, one can reveal the ideological aspect of the musical matter created by him only in general terms: a person always strives for happiness, but real life is an alternation of hard reality with mythical dreams of happiness, the achievement of which is impeded by an implacable Fatum.
CREATIVITY – HIGHER MEANING Content of the works of A.N. Scriabin – a brilliant contemporary of P.I. Tchaikovsky, fed the philosophy of F. Nietzsche, theosophy, oriental religious teachings, refracted in the bright individuality of the composer. The universe was perceived by Scriabin as the result of some artistic creativity, which the composer called the “divine play”. Scriabin was convinced that under the influence of the great power of art, the consciousness of humanity would infinitely rise, which would lead to a new qualitatively different form of an infinite universal creative process, to universal harmony, to universal Ecstasy. The composer believed utopically, supported by his associates, that it was he who would create the “Mystery” – a mysterious act, the execution of which would be the beginning of the universal changes. Without touching the worldview of Scriabin, do not understand the mysterious sonority, giving rise to which the composer seemed to want to create an ephemeral, distinct from coarse earthly matter, musical fabric.
It is difficult to explain the phenomenal remarks with which his notes are full. The names of his musical compositions are intricate: “The Poem of Ecstasy”, “To the Flame”, “The Divine Poem”, “Dancing Garlands”. The names that Scriabin gives to the main themes of his compositions are mysterious: the theme of the arisen creations, the alarming rhythms, the theme of the divine game, the theme of flight. New ideas required the creation of a new musical language. The composer is looking for the possibility of combining sound and light and creates a “Poem of Fire”, in the score of which there is a light string for performance by a hypothetical light-music instrument. He dreamed that during the performance of the poem (a kind of rehearsal for the future “Mystery”), the concert hall would be iridescent with waves of various colors that would intertwine with the polyphonic sound of music. The technical capabilities of the last century were too modest for such a performance of “The Poem of Fire” (“Prometheus”). Today, there are many options for playing Scriabin’s “Prometheus” with light effects.