Micro-rhythm’s Asymmetrical Game as a Prerequisite to Achieving Natural Procedurality (Continuity) in Scryabin’s Études op. 42

The author of this publication, strives to prove, being aided by various causal relationships, that the unique, trembling, breathing micro-rhythm, indispensable for the proper performance of Skryabin’s works, stems from his rare gift of delving deep into the hidden, into the obscured heart of innumerable energy processes that take place in the surrounding world. His extremely sensitive, searching-and-seeking kind reaches stunning innovation results, in his strenuous ideological and artistic evolution. Tacit in his musical writings, the primary elements of Earth, Water, Air, and Fire are revealed in a vast array of energy manifestations and states. A substantial part of them are inimitably replicated in the three main collections of the Skryabin’s piano Études (Op. 8, 42 and 65).

In the over-developed associative and metaphorical imagination of the composer, his passionate metaphysical passions and subjective musical concepts, filled with a high dose of idealism and infinite love for people, are in a process of emergence. A sophisticated natural asymmetry of life forms and processes becomes a guide point for the genius creator, in structuring the intonation, micro-rhythmic and micro-tonal components in his artistic writings. They are subject to gravitational laws too close to the natural proportions of the mineral and organic matter in the area of ​​their golden section; in other cases to the cosmic weightlessness and limitlessness of universal forms and methods of accumulation of gigantic energies and velocities.

 

Keywords: Scryabin, micro-rhythmic proportions, polyrhythmic presentation, natural phenomenon, energy states (in music)