Scriabin’s Études span the whole of his composing career, marking a highly transitional period in classical music. From a very young age, Scriabin wrote miniatures for the piano, and his early Chopin-esque compositions earned him the nickname ‘the Russian Chopin’ – frustrating for the young composer who was eager to look beyond the established forms of waltzes and mazurkas. While many of the earlier Études bear hallmarks of the Romantic era, Scriabin soon began to explore his own unique tonality, starting from Op.42 with its noticeable use of tritones, and later when he centred on the so-called ‘Mystic’ chord, based around perfect and augmented fourths. Scriabin himself struggled for years with his piano technique, after he injured his hand permanently by over-practising notoriously virtuosic works by Liszt and Balakirev. This didn’t stop him writing technically challenging music for the piano, with thrillingly fast runs in parallel ninths and fifths and his trademark cross-rhythms in each hand.
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