Scriabin's theosophical thought takes on more and more body to the point of determining the same music. The definitive turning point
towards this direction took place in these very years, around 1900 to 1903. Music becomes proactive. The use of the major tonality is affirmed. Scriabin was able to experience positive emotions (happiness, excitement) in an almost supernatural way. In this period he wrote a libretto for a melodrama he never entirely set to music where the protagonist was the poet-musicianphilosopher (Scriabin himself). Some of the verses read like this: I am so happy that if I could instill at least a drop of happiness to the whole world, life would seem beautiful to men.
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