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Saturday 24th September  

09:30   Registration / Coffee

10:00   Welcome


Session 1A: Ties and Influences (chair: Akvilė Stuart)

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 1B: Forces and Motion (Chair: Rajan Lal)

*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 (Chair: Ian Pace)

*Laura Granero, “Scriabin plays Scriabin”

James Kreiling, Lecture Recital

Session 2B: Function, Scale, Referentiality (Chair: Kenneth Smith)

*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  (Chair: David Haas)

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 (chair: Lindsey Macchiarella)

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
(chair: Vasilis Kallis)

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 (chair: Simon Nicholls)

*Ali Yansori, “Scriabin and Russian cosmism”

Hannah CJ McLaughlin, “Scriabin’s Utopian Mysterium

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

Session 4B: Scriabin’s Reception (chair: Kenneth Smith)

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 4C: Flight, Dance, & Time (chair: Richard Gillies)

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” (pre-recorded)


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


* remote presentations via zoom.


Posters will be on display throughout the conference:

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

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