Космични прозрения и вселенска символика в последната соната на Скрябин
Cosmic Vision and Space Symbolism in Scriabin’s Last Sonata

Summary/Abstract: Being created more than a century ago, Scriabin’s 10th Sonata marks a summit in space percepts’ cognition and interpretation, within the scope of music expression. In his œuvre’s concluding, mature stage, this Russian genius penetrates more decisively into unexplored, uncharted territories of world science. He moves tone art into phenomena of space scope, creating music equivalents of a whole array of cosmic objects and energy forms. In his pioneer role, Scriabin charges musical art with the newest astrophysics’ ideas, concepts and hypotheses of his time. Most probably, his instinct allows him to exceed his époque’s space knowledge, by means of artistic suggestions that contain predictions of future, not yet discovered, space and energy forms. Scriabin’s 10th Sonata contains an extremely rich spectre of intrinsically “space” images; in them avant-guard scientific knowledge is closely intertwined with mythological and religious visions. This study points the reader towards Scriabin’s world of ideas and images. This world’s immense scale is closely connected with real cognition of parallel processes that occur regularly in space, with their spiritual symbols, as well as their scientific and philosophical grounding. Composer’s alert spirit executes mankind’s first steps in space exploration – by means of musical art. This highly evolved personality’s fundamental visions are capable of recreating even space’s “breath” of star mega-worlds, in their mutual spectral shift. Scriabin consciously directs the human mind extremely far from human’s habitual planetary oasis, while sending him down the space traveler’s unknown path – a traveler observing unknown space phenomena and processes with awe and admiration. Scriabin’s last Sonata strikes us with its great idea of space global spirituality – spirituality of all objects visible and invisible. It makes as sympathetic and “in tune” with the universal space “being”. It allows us to notice and become aware of the cosmic “code” within ourselves, in humankind as a whole and in the vast multitude of divine beings, states and nature forms that surround us.Being created more than a century ago, Scriabin’s 10th Sonata marks a summit in space percepts’ cognition and interpretation, within the scope of music expression. In his œuvre’s concluding, mature stage, this Russian genius penetrates more decisively into unexplored, uncharted territories of world science. He moves tone art into phenomena of space scope, creating music equivalents of a whole array of cosmic objects and energy forms. In his pioneer role, Scriabin charges musical art with the newest astrophysics’ ideas, concepts and hypotheses of his time. Most probably, his instinct allows him to exceed his époque’s space knowledge, by means of artistic suggestions that contain predictions of future, not yet discovered, space and energy forms. Scriabin’s 10th Sonata contains an extremely rich specter of intrinsically “space” images; in them avant-guard scientific knowledge is closely intertwined with mythological and religious visions. This study points the reader towards Scriabin’s world of ideas and images. This world’s immense scale is closely connected with real cognition of parallel processes that occur regularly in space, with their spiritual symbols, as well as their scientific and philosophical grounding. Composer’s alert spirit executes mankind’s first steps in space exploration – by means of musical art. This highly evolved personality’s fundamental visions are capable of recreating even space’s “breath” of star mega-worlds, in their mutual spectral shift. Scriabin consciously directs the human mind extremely far from human’s habitual planetary oasis, while sending him down the space traveler’s unknown path – a traveler observing unknown space phenomena and processes with awe and admiration. Scriabin’s last Sonata strikes us with its great idea of space global spirituality – spirituality of all objects visible and invisible. It makes as sympathetic and “in tune” with the universal space “being”. It allows us to notice and become aware of the cosmic “code” within ourselves, in humankind as a whole and in the vast multitude of divine beings, states and nature forms that surround us.Being created more than a century ago, Scriabin’s 10th Sonata marks a summit in space percepts’ cognition and interpretation, within the scope of music expression. In his œuvre’s concluding, mature stage, this Russian genius penetrates more decisively into unexplored, uncharted territories of world science. He moves tone art into phenomena of space scope, creating music equivalents of a whole array of cosmic objects and energy forms. In his pioneer role, Scriabin charges musical art with the newest astrophysics’ ideas, concepts and hypotheses of his time. Most probably, his instinct allows him to exceed his époque’s space knowledge, by means of artistic suggestions that contain predictions of future, not yet discovered, space and energy forms. Scriabin’s 10th Sonata contains an extremely rich specter of intrinsically “space“ images; in them avant-guard scientific knowledge is closely intertwined with mythological and religious visions. This study points the reader towards Scriabin’s world of ideas and images. This world’s immense scale is closely connected with real cognition of parallel processes that occur regularly in space, with their spiritual symbols, as well as their scientific and philosophical grounding. Composer’s alert spirit executes mankind’s first steps in space exploration – by means of musical art. This highly evolved personality’s fundamental visions are capable of recreating even space’s “breath“ of star mega-worlds, in their mutual spectral shift. Scriabin consciously directs the human mind extremely far from human’s habitual planetary oasis, while sending him down the space traveler’s unknown path – a traveler observing unknown space phenomena and processes with awe and admiration. Scriabin’s last Sonata strikes us with its great idea of space global spirituality – spirituality of all objects visible and invisible. It makes as sympathetic and “in tune“ with the universal space “being“. It allows us to notice and become aware of the cosmic “code“ within ourselves, in humankind as a whole and in the vast multitude of divine beings, states and nature forms that surround us.

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