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Programme

Saturday 24th September  

09:30   Registration / Coffee

10:00   Welcome

10:15   Session 1A: Scriabin’s Reception

Ákos Windhager, “‘Russian Bartók’ Hungarian reception of Scriabin in the twentieth century”

Akvilė Stuart, “Unfitting introduction to a tea party? English critical reactions to Scriabin’s Prometheus, 1913-1923”

Lindsey Macchiarella, “Scriabin and Wagner”

Natalya Gorbunova, “Scriabin’s legacy and reputation in the USSR: Classic or Outsider? Exploring materials from the magazine Soviet Music, 1933-1953”

Session 1B: Forces and Motion

Ildar Khannanov, “From unknown Yavorski to mysterious Scriabin”

Inessa Bazayev, “The Scriabin tremor and its role in his oeuvre”

Cheong Wai-Ling, “Scriabin’s metric and rhythmic modernism”

Lance Russell, “Enigmatic voice-leading in Scriabin's three pieces, Op. 52”

 

12:15   Lunch

13:15   Session 2A: Performance and Interpretation

Laura Granero, “Scriabin plays Scriabin”

Maurizio Baudino & Dario Vannini, “Ecstasy of colours”

James Kreiling, Lecture Recital

Martyna Krymska, “An analytical view of the variations on a Scriabin Theme for guitar by Aleksander Tansman”

Session 2B: Function, Scale, Referentiality

Chris Williams, “The harmonic multiverse: harmonic qualia and Scriabin”

Keith Salley, “Functional conflation and referentiality in Scriabin's early works”

Adrian Childs, “Transpositional development, pitch-class invariance, and acoustic signalling in late Scriabin”

Vasilis Kallis, “On Scriabin’s transitional period (1903–1908): from  harmonic function to scalar quality”

 

Session 2C:  Emotion and Tension in Scriabin 

Michael Kaykov, “A new world of harmony; Scriabin’s sixth piano sonata and the full liberation from diatonicism”

Olena Dyachkova, “‘The will and traditions’: Scriabin's Le Poeme de l’Extase in the performance interpretations of the second half of the 20th - early 21st century”

Mark Johnson, “(Black) mass and erotic charge: Peter Rowlands's physics in Scriabin's ninth sonata”

Alexander Jakobidze-Gitman, “Dread and fascination as the primary affects in late Scriabin”

15:15   Coffee Break

15:30   Session 3A: The Wagnerian Legacy

Ivana Medić, “Scriabin’s and Schoeberg’s approach to total artwork (Gesamtkunstwerk)”

David Haas, “Scriabin’s leitmotivic technique: the progress of a method”

Marina Lupishko, “An ‘artist-hero’: Scriabin’s visions of the Gesamtkunstwerk in the context of the early Russian avant-garde”


            Session 3B: Past and Future: the Late Works

Ezra Bartz, “Between two masses: Scriabin's enigmatic eighth sonata”

Luigi Verdi, “From Skrjabin’s Prometheus chord to kaleidocycles and tiling canons”

Christoph Flamm, “The future of the past? diatonic harmonic structures in Scriabin's late sonatas”

 

17:00   Wine reception

17:45   Keynote: Marina Frolova-Walker

19:00   Piano Recital: Anita D’Attillis

 

Sunday 25th September

 

9:30     Session 4A: The Mystery

Ali Yansori, “Scriabin and Russian cosmism”

Hannah CJ McLaughlin, “Scriabin’s Utopian Mysterium

Manon Fabre, “‘Complexity is the path to simplicity’ – about Alexander Scriabin’s five preludes, Op. 74

Mariam Asatryan, “The fourth dimension in Scriabin’s experiences”

Session 4B: Ties and Influences

Jared Redmond, “Korsakov scales, the Mystic chord, and Scriabin’s influence on harmony in the 1920s Soviet avant-garde”

Richard Louis Gillies, “The ocean in a grain of salt: Scriabin and the art of fragment”

Simon Nicholls, “Scriabin and language”

Wendelin Bitzan, “Scriabin and Medtner: latent influences and intercommunities

 

Session 4C: Flight, Dance, & Time

Alec Wood, “Aesthetic revolution and chiastic temporality in Scriabin”

Areg Mekhakyan, “Sacred dance in the oeuvre of Scriabin: its Greek and Indian origins”

Kristen Topham, “Crossmodal creation: light and sonata Op. 30”

Natalie Pang, “Performing the flight topic in Scriabin’s fourth sonata”

 

11:30   Break

12:00   Open public workshop on Music, light, and colour featuring a light-colour keyboard installation “Insekta” by Ian Costabile.

12:45   Departure lunch

 

 

Posters will be on display throughout the conference:

Béatrice Isidora Beer, “The evolution of harmonic style in Scriabin's oeuvre”

David Mott, “Neo-Riemannian structures and musical affect in Scriabin’s Poème languide

 

 

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