clozee tour dates 2023

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CloZee Thrills Fans with Massive 45-Date Microworlds Tour Across North America

French producer and head of the label odyzey music, clozee, has announced her 45-date tour, marking a monumental moment for the artist as her largest headline tour to date. .

CloZee is gearing up to drop her third album, ‘ Microworlds ,’ this summer. She released the title track, “Microworlds,” last month and then “Infinity,” a collaboration with Ganja White Night , just days later. Less than a month after the tracks came out, CloZee has revealed her upcoming audio-visual tour dates for this fall.

The Microworlds Tour begins on September 28 in Minneapolis before she hits over 30 cities across North America, ending on December 10 in Seattle. With multiple dates in states including Florida, California, and North Carolina, the tour is massive and has multiple opportunities for fans to see the experimental artist live. The last two dates have not been announced, leading fans to speculate where she would be playing on December 30 and New Year’s Eve . 

“One of my favorite parts of writing a new album is to tour with it and present the journey to an audience. When I play the songs live, new dimensions, new memories, and experiences are created, for the listeners and for myself. I can’t wait to connect with the fans through this new audio-visual adventure,” CloZee said when talking about the tour. 

She is bringing along a stacked lineup with direct support from electro-soul DJ Daily Bread. Canvas, Saturna, Chmura, and Daggz, are playing select dates along with Dreamers Delight, Super Future, LYNY, Heyz, Mfinity, Josh Teed, and 9theory. Genre-crossing producer, INZO , and bass icon Wreckno are special guests for the Microworlds Tour. 

Known for her lucid, entrancing style, CloZee drops consistent tracks that encapsulate her as a musician and producer. Now, with a focus on an audio-visual experience , CloZee is releasing a three-part music video series. The series, centering around a character contemplating different realities and existences, is in line with the vibe of her music. 

Tickets for the Microworlds Tour are on sale here at 10 AM on Friday, May 19. While we patiently wait for this fall to approach, watch the first music video of her series for “Microworlds” here: 

Madison Duncan

Hi! My name is Madison and I was born and raised in Colorado, giving me immediate access to some of the best live music. I have two degrees from the University of Denver in Media Studies and Criminology and am passionate about music journalism. Some of my favorite artists are, but not limited to, Disco Lines, Tape B, Space Laces, and Whyte Fang.

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CloZee Announces Headline Microworlds Tour

May 22, 2023, ahead of forthcoming  microworlds  album via odyzey music, releases official ‘microworlds’ music video.

Watch ‘Microworlds’

https://clozeemusic.lnk.to/MicroworldsVideo  

Today, French multi-talented artist and Odyzey Music label head  CloZee  announces her upcoming headline  Microworlds Tour . Kicking off on September 28th, the Microworlds Tour will see CloZee journey across North America hitting more than 30 different cities over 45 dates, and marking the biggest headline tour of her career.

This fall, CloZee will take her forthcoming third album on the road, bringing  Microworlds to renowned venues like Los Angeles’ The Shrine, New York’s Brooklyn Steel, a multi-night stop at San Francisco’s The Midway, along with stops at art-focused spaces like Las Vegas’ AREA15 and Phoenix’s Walter Where? House. Offering fans a new live experience, the Microworlds Tour is a brand new audio-visual odyssey that sees  Microworlds  come to life.

Regarding the tour, CloZee said, “One of my favorite parts of writing a new album is to tour with it and present the journey to an audience. When I play the songs live, new dimensions, new memories and experiences are created, for the listeners and for myself. I can’t wait to connect with the fans through this new audio-visual adventure.”

The Microworlds Tour will also spotlight the rising talent CloZee has curated with Odyzey Music, tapping artists like Saturna and Canvas who appeared on the label’s 2022 DJ Mag-nominated   Muzique, Vol. 2  compilation. Across a majority of the tour dates, CloZee will be joined by Atlanta-based electro-soul producer/DJ Daily Bread as direct support. Select dates will feature additional support from Canvas, Chmura, Daggz, Dreamers Delight, Heyz, Josh Teed, LYNY, Mfinity, Saturna, Super Future, and 9theory, along with special guests Chicago-based genre-bender INZO and queer bass icon Wreckno.

Along with the announcement, CloZee has shared her official music video for the album’s titular single ‘ Microworlds ’. Directed by Jade Ananda, the ‘ Microworlds ’ music video expounds on the idea of metaphysical reflection as it follows the main character reminiscing about his past and contemplating the alternative realities that could have been. A befitting visual accompaniment that harnesses the inquisitive spirit of CloZee’s originals, the ‘Microworlds’ music video serves as the first in an upcoming three-part series.

Join CloZee as she embarks on her biggest tour to date and experience  Microworlds  live.

Microworlds Tour Dates

September 28 – Skyway Theatre – Minneapolis, MN

September 29 – the sylvee – madison, wi, september 30 – radius – chicago, il, october 1 – egyptian room – indianapolis, in, october 4 – marathon music works – nashville, tn, october 5 – the concourse – knoxville, tn, october 6 – the eastern – atlanta, ga, october 7 – the eastern – atlanta, ga, october 8 – joy theater – new orleans, la, october 12 – jannus live – st. petersburg, fl, october 13 – jannus live – st. petersburg, fl, october 14 – orlando warehouse – orlando, fl, october 15 – the glass factory – jacksonville, fl, october 18 – the orange peel – asheville, nc, october 19 – the orange peel – asheville, nc, october 20 – the fillmore – charlotte, nc, october 21 – the ritz – raleigh, nc, october 26 – the national – richmond, va, october 27 – echostage – washington, dc, october 28 – brooklyn steel – brooklyn, ny, october 31 – roadrunner – boston, ma, november 2 – corona theatre – montreal, qc, november 3 – history – toronto, on, november 4 – royal oak music theatre – detroit, mi, november 8 – the bluestone – columbus, oh, november 9 – bogart’s – cincinnati, oh, november 10 – the factory – chesterfield, mo, november 11 – the midland theatre – kansas city, mo, november 15 – the criterion – oklahoma city, ok, november 16 – stereo live – houston, tx, november 17 – the factory in deep ellum – dallas, tx, november 18 – stubb’s waller creek amphitheatre – austin, tx, november 22 – 11:11 – el paso, tx, november 24 – walter wherehouse – phoenix, az, november 25 – area15 – las vegas, nv, november 30 – soma – san diego, ca, december 1 – the shrine expo hall – los angeles, ca, december 2 – the midway – san fransisco, ca, december 3 – the midway – san fransisco, ca, december 7 – roseland theater – portland, or, december 8 – roseland theater – portland, or, december 9 – showbox sodo – seattle, wa, december 10 – showbox sodo – seattle, wa.

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CloZee To Embark On Biggest Headlining Tour Of Her Career, The Microworlds Tour

CloZee , the French multi-talented artist, is embarking on the biggest headlining tour of her career: the Microworlds Tour.

The gigantic tour will kick off on September 28, 2023, and journey throughout more than 30 cities in North America for 45 dates as CloZee plays out her upcoming third album, Microworlds. 

Prominent venues include multi-night stops at San Francisco’s The Midway , interactive art space AREA15 , San Diego’s intimate SOMA , Los Angeles’s The Shrine , and more.

Joining the space-bass pioneer and innovator as direct support is the Atlanta-based electro-soul producer/DJ Daily Bread . Select shows will also highlight Canvas , Chmura , Daggz , Dreamers Delight , Heyz , Josh Teed , LYNY , and more with INZO and Wreckno as special guests.

Speaking about the landmark tour, CloZee said, “One of my favorite parts of writing a new album is to tour with it and present the journey to an audience. When I play the songs live, new dimensions, new memories, and experiences are created, for the listeners and for myself. I can’t wait to connect with the fans through this new audio-visual adventure.”

Presale for CloZee’s Microworlds Tour begins Wednesday, May 17 at 10AM local time with general on-sale following Friday, May 19 at 10AM local time.

Check out the full list of dates below, and grab tickets and register for presale here.

Featured image from CloZee

Danielle Levy

Danielle Levy is an MBA with a concentration in Corporate Social Responsibility. Danielle has several years of experience in the sustainability education world and has held various positions in human resources and intern management. Danielle is passionate about the ties between sustainability and social impact.

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CloZee Delivers Alluring Performance on East Coast Leg of Microworlds Tour

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The Microworlds Tour left fans eagerly awaiting the next electrifying step in the journey of electronic bass producer CloZee.

CloZee , the acclaimed French electronic bass producer, is not only known for her enchanting music but is also her advocacy for women and the LGBTQ members of the scene. Her label Odyzey , founded in 2020, is at the forefront of introducing talented artists who share her vision and creativity.

One of CloZee’s most significant milestones was the release of her album Microworlds on July 23 . This emotionally charged masterpiece was a labor of love two years in the making. It’s a sonic journey that dives deep into her soul, offering a glimpse into her creative process and emotional depth.

CloZee’s impact extends far beyond the studio. She’s headlined the stages of renowned festivals like Envision Festival and Sonic Bloom and has taken her art to audiences on a global scale. Her commitment to live performances is evident in her Microworlds Tour , which saw her perform across North America, with over 30 cities and 45 dates on the itinerary.

One of the highlights of this tour was her electrifying show at Brooklyn Steel in New York City on October 28 . The energy in the venue was palpable, and talented openers like Daily Bread , Mfinity , and Camnuh made it an unforgettable night. As she weaves her way through the East Coast — including stops in Washington, D.C. , Richmond , and Boston — CloZee continues to prove herself as an artist dedicated to breaking boundaries and connecting people through her art.

Tracks from Microworlds featured heavily throughout the night.

As fans gathered with unbridled enthusiasm at Brooklyn Steel, the proverbial curtain rose on CloZee’s mesmerizing performance, unveiling the sonic journey with the enchanting “ Tomboy ” from Microworlds . The stage transformed into a mesmerizing tapestry of pinks and purples, igniting the room with deep blue lasers and immersing the audience in an otherworldly experience. The visual spectacle enveloping the stage, adorned with five vertical screens and swirling light fixtures, captured everyone in a trance throughout the evening.

Following this ethereal opening, the crowd erupted into ecstatic fervor as CloZee unleashed her soulful remix of La Fine Equipe ’s “ Don’t Panik ,” accompanied by a dazzling display of green and white lasers. The sheer energy and unity in the room echoed in harmonious chants of the track’s lyrics. Then, a bass drop of seismic proportions unleashed a mesmerizing light show with intricate laser patterns that left the audience in awe.

When the album’s title track graced the speakers, the crowd reached a new level of elation, moving to the rhythms and beats that CloZee conjured with her every move. The visuals transported the audience into a lush jungle scene, rendering them awestruck by the breathtaking imagery. “ Glow in the Dark ,” a poignant track with lyrics by Ella Vos , swathed the room in enchantment as the crowd swayed in blissful unison.

The set exuded tribal vibrations, and the crowd joined in with enchanting hums to a chant. CloZee made a special nod to CharlestheFirst by playing his remix of her track, “ Pathway to Heaven .” The start of the show was intertwined with glitchy bass drops and CloZee’s iconic tribal elements, all while an intricate light show painted the stage with vibrant visuals.

CloZee played several of her tracks from the Microworlds album, including “ VISIONS ,” “ Anteres ,” and “ Skylight .” The zenith of the night arrived with the euphoric “ Color of Your Soul ,” a collaborative creation with GRiZ . The music, in tandem with an electrifying audio-visual experience, resonated deeply with the crowd.

CloZee intertwined unreleased tracks along with tunes outside of her usual sound throughout the set.

Throughout the performance, CloZee weaved a tapestry of her discography, featuring tracks like “ Visions ,” “ Neon Jungle ,” “ Odyssey ,” and her entrancing remix of “ Baiaina ” by Barbatuques . One of the evening’s highlights was when CloZee cued up the exhilarating “ Back To The Top ,” a song crafted alongside Britt Lari and Dreamers Delight . Its whimsical lyrics and synth-infused drop left an indelible mark, etching this moment in the audience’s memory.

Earlier this year, CloZee and LSDREAM unveiled a collaborative project, fusing their distinctive bass sounds into a transcendent auditory voyage. As the night unfolded, CloZee tantalized fans with unreleased tracks from the endeavor.

CloZee’s set seamlessly blended various genres, unveiling short but exhilarating mixes between tracks such as “ Limit To Your Love ” by James Blake , “ Wannabe ” by the Spice Girls , and “ London Bridge ” by Fergie . These unexpected moments of sonic fusion ignited the crowd, adding an extra layer of excitement.

CloZee delighted the crowd by brining Tripp St. on stage for “Odysseys.”

As the show approached its conclusion, CloZee invited collaborator Tripp St. to join her on stage during the performance of “ Odysseys .” The night culminated with CloZee expressing her profound gratitude to the devoted fans who had supported her throughout her journey. She brought out all the opening acts, extending her appreciation to them as well, leaving the crowd with hearts full of joy and cherished memories.

There is still an opportunity to see her on upcoming stops. Grab your tickets today to see CloZee as she continues the journey of the Microworlds Tour.

Follow CloZee:

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Kinley Shotts

Meet Kinley Shotts, who discovered Skrillex in 2011 and has been passionate about the sounds of electronic music ever since. Her parents began taking her to shows at a young age and she began attending electronic shows and festivals during her time studying Journalism at the University of Arkansas. Since then, Kinley has experienced the scene in Kansas City and now resides in Denver. Additionally, Kinley works in the tech industry leading a partnerships team at a high growth startup. At nights and on the weekends, you can find her catching a range of live music shows around Denver and across the country. She mostly enjoys future bass, UKG, breaks, and drum and bass beats with hip-hop, funk, and soul influences. She also dabbles in dupstep, house, and techno as well. While she loves artists in all genres, her favorite electronic artists span from James Blake to Flume to Sub Focus. Her taste knows no bounds!

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Clozee Tour Dates 2024

Clozee Tour Dates 2024 . Home about news tour music store. The microworlds tour will also spotlight the rising talent clozee has curated with odyzey music, tapping artists like saturna and canvas who.

Don’t miss the opportunity to see clozee live! Opening the new week with a colossal announcement, odyzey music label head clozee has unveiled the dates for her upcoming headline microworlds.

Orchestrated Under The Umbrella Of Modern Electronic Music, Clozee’s Sound Can.

Opening the new week with a colossal announcement, odyzey music label head clozee has unveiled the dates for her upcoming headline microworlds.

She Recently Announced Her Next Album “Microworlds” Will Be Coming Out This Summer 2023.

Buy tickets, bottle service & guest list for clozee events near you.

Clozee Tour Dates For 2024 Or 2025 May Be Available Now.

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Lane 8 4 Concerts To September 07, 2024 #3295:

Find clozee tour schedule, concert details, reviews and photos.

Buy Tickets, Bottle Service &Amp; Guest List For Clozee Events Near You.

Renowned french producer chloé herry—aka clozee—will bring her imaginative and technically precise bass sounds to the showbox sodo in support.

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Clozee Tour 2024

Clozee Tour 2024 . Their next tour date is at hummingbird ranch in rye, after that they'll be at unknown. Buy clozee tickets from the official ticketmaster.ca site.

The very buzzy lineup for that event includes james blake, m.i.a., fatboy slim, clozee and the summer’s only u.s. Their next tour date is at hummingbird ranch in rye, after that they’ll be at unknown.

The Tour Started With The Tour Down Under On 16.

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Today, creators of north america’s original boutique festival experience lightning in a bottle and immersive art leaders do lab have revealed the.

The Gigantic Tour Will Kick Off On.

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Clozee's Music Has Always Suggested Imagery Of Natural Settings With Her Sonics, But The Production Of Neon Jungle Constantly Conjures.

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Upcoming concerts for CloZee

• Saturday October 05, 2024 CloZee and LSDREAM Red Rocks Amphitheatre, Morrison
• Saturday October 05, 2024 The Funk Hunters, CloZee, and LSDREAM Red Rocks Amphitheatre, Morrison
• Sunday October 06, 2024 CloZee, LSDREAM, jordnmoody, and Skysia Red Rocks Amphitheatre, Morrison

Saturday 30 December 2023

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Scriabin Association

Founded to celebrate scriabin, scriabinism and scriabinists….

Aleksandr Nikolaevich Scriabin: A short biography by Simon Nicholls

Aleksandr Nikolaevich Scriabin was born on Christmas Day (Old Style) 1871 [1] in Moscow into a family in which the males were predominantly military men. His mother, Lyubov’ Scriabina , née Shchetinina, however, was a gifted and successful pianist who played concerts including her own compositions. Ten days after the birth she was diagnosed as having a lung infection and was sent to Italy, where she died of tuberculosis in the following year. Scriabin’s father, who had been studying law, resumed his studies, which he had broken off to get married. After graduating and studying foreign languages he joined the diplomatic service; eventually this took him to Turkey.

The child was looked after by his grandmother Elizaveta and his aunt Lyubov’ . At the age of three he was already able to pick out melodies at the piano with one finger. It was about this time that Lyubov’ asked to be allowed to renounce her own prospect of a family life and to devote herself to the care of the child, ‘ Shurin’ka ’ as he was known. By 1877 Shurin’ka was playing by ear with both hands. In 1879 he was given a toy theatre, for which he composed tragic plays and made scenery. In the same year, Anton Rubinstein , who had known Shurin’ka’s mother and admired her playing, heard the boy play. His advice was not to bother the child with demands but to let him go at his own pace, to compose and play when he wished.

In 1882 Shurin’ka joined the cadet corps, having been prepared for the entrance exams by his aunt. He was excused arms-bearing exercises but was good at gymnastics, and popular because of his musical abilities. It was in the corps that he first played to an audience, a Mendelssohn Venetian Gondola Song and a Bach gavotte, again by ear. The following year he started formal piano lessons with Georgii Konyus, who noted the child’s weak tone-production. In this year, however, Shurin’ka composed a skilful Canon in D minor  dedicated to Konyus.

In 1883 Shurin’ka also suffered from measles (or German measles) complicated by dropsy. A common description of him for most of his life was ‘pale, fragile’…  –  he was short and slight in physique.

In 1885 Scriabin, whom we will now refer to by his surname, started piano lessons with Nikolai Zverev , whose reputation as a teacher was built on preparing students for the Conservatoire. Among the students in Zverev’s class was Rachmaninov. Zverev’s students often lived in, but Scriabin was a ‘day boy’. At the same time Scriabin started lessons in theory and harmony with Sergei Taneev, who noted his extraordinary aural abilities. Composition was now a constant activity for Scriabin.

Scriabin commenced study at Moscow conservatoire in 1888, studying piano with Vassily Safonov and, later, composition with Anton Arensky . Attendance at the cadet corps continued until 1889. In 1891 A. N. met and fell in love with Natalya Sekerina , to whom he wrote numerous letters from then until 1895, when she turned down his proposal of marriage. By her own account, this was despite their mutual love and because of feelings of inadequacy. Parental disapproval probably also played a major part.

1891 was also the year in which Scriabin developed a repetitive strain injury in his right arm or hand (probably both) from over-practice in the vacation, striving to emulate his brilliant classmate Joseph Lhévinne . He may well have been predisposed to this injury by an earlier accident at the age of fourteen, when he was driven into by a horse-drawn vehicle while crossing the road and fractured his right collar-bone. The injury developed again in 1893. It was also in 1891 that relations between Scriabin and Arensky broke down and that Scriabin ceased to attend composition classes. This led to Scriabin’s graduating from the Conservatoire in 1892 with what was known as the small gold medal, the great gold medal being awarded for successful study in both piano and composition. In that year, however, the first of Scriabin’s compositions to be published (without payment to the composer) appeared in the imprint of Jurgenson publishing house, and in the summer Scriabin travelled to St. Petersburg, Vyborg and Finland.

The following year, under doctors’ instructions, Scriabin spent some time in Samara, taking a cure involving the drinking of kumis, a fermented mares’ milk which was highly regarded at the time for medicinal properties, and later in Gurzuf in the Crimea. The famous Prelude and Nocturne for left hand op. 9 were composed at about this time.

1894 saw Scriabin’s debut as composer-pianist in a concert in St Petersburg attended by Mitrofan Belyayev (Belaieff is the French transliteration and the name of the publishing house, which will be given below in quotes), who became Scriabin’s publisher, mentor and patron. The first Sonata op. 6 and the twelve Etudes op. 8 were published in 1895, a year when Scriabin took a long tour in Germany, Switzerland and Italy; impressions gained on this trip went into a number of the Twenty-four Preludes op. 11. In the autumn Scriabin became acquainted with Prince Sergei Trubetskoy, who became an influence in the development of the composer’s  philosophical outlook.

Scriabin’s first concerts abroad took place in 1896: Paris, Brussels, Berlin, the Hague, Amsterdam and Cologne. In August of the following year he married the fine pianist Vera Isakovich . The Piano Concerto op. 20 received its premiere a month later, with Scriabin playing the solo part and Safonov conducting. In the following year the Twenty-four Preludes were published.

The Scriabins travelled to Paris and gave a joint concert of Aleksandr Nikolaevich’s works in the Salle Erard on Jan 19 th 1898. Their first child, Rimma, was born two months after their return from Paris, in July.

In this year the Second and Third Piano Sonatas, opp. 19 and 23, and Scriabin’s short symphonic poem, Mechty (Daydreams) op. 24 were published by ‘Belaieff’, and Rimsky-Korsakov conducted the first performance of Mechty. Scriabin took up an appointment teaching in Moscow Conservatoire, which continued until the end of 1902. His interest in philosophy began to grow at this period.

In 1900 the Scriabins’ second daughter, Elena, was born. A tour to Berlin and Paris was undertaken, and the first performance of the First Symphony op. 26 took place under Anatoly Lyadov in St. Petersburg, the choral finale being omitted. Scriabin became involved in the circle of philosophers in Moscow. An important page of notes, recounting an inner victory over despair, renouncing religious faith and affirming self-reliance, dates from about this time.

1901 saw the Moscow premiere of the First Symphony and, in November, the completion of the Second Symphony op. 29. Work also commenced on the Fourth Sonata op. 30. The Scriabins’ second daughter, Maria, was born; their son Lev followed in 1902. In January of the same year Scriabin read the libretto of a projected opera to Emilii Rozenov, and in November he made the acquaintance of Tatyana Schloezer .

The summer of 1903 was spent in the country, at Obolenskoe, where Scriabin, who owed Belaiev money, worked at piano pieces  (opp. 31–42), finished the Fourth Sonata op. 30 and started work on the Third Symphony, ‘Divine Poem’ , op. 43. Belaiev died that December.

In February 1904 Scriabin moved to Switzerland; the family joined him in Geneva in March. They moved to Vésenaz in late February or early March and Tatyana Schloezer moved to Belle-Rive, nearby, shortly afterwards. Much of the year was taken up with the orchestration of the Third Symphony , sent to the publishers in November, and with the composition of the piano pieces opp. 44-47.

In September the Second International Philosophical Congress took place in Geneva. From Scriabin’s notes in the detailed report of the conference, a large volume which shows the dominance of idealist thought at that period, we know that Scriabin took a close interest in it, and his name appears in the list of subscribers. There is no conclusive proof that he attended this conference, but it is very likely that he did. In the summer a notebook was filled by Scriabin with pencilled philosophical speculations on the nature of consciousness, and with an early prose draft of the verse for the Poem of Ecstasy. In November Scriabin travelled to Paris in order to arrange a performance of the Symphony no. 3 . Tatyana Schloezer joined him there in November. Scriabin and Vera Ivanovna agreed to separate in December, but there was never a divorce.

A second philosophical notebook, the first part of which is written in an ecstatic style sometimes suggestive of Nietzsche, but also showing the influence of the Russian poet Bal’mont , was written in 1904-5.

In 1905 the Third Symphony received its first performance, in Paris, and two letters from Scriabin to Tatyana Schloezer written on  April  22 and 25 (Old Style) recount the composer’s awakening interest in the Theosophical system of H. P. Blavatsky . Scriabin commenced work on the composition of the Poem of Ecstasy op. 54 in this year. Scriabin and Schloezer moved to Bogliasco, Italy, some time before  June 4 (Old Style), and their daughter Ariadna was born there. Scriabin’s daughter with Vera Ivanovna, Rimma, died in July. At the end of the year Scriabin and the board of the ‘Belaieff’ publishing house had a disagreement: the board wished to reduce Scriabin’s fees, and the annual prizes and awards previously given by Belyayev himself were discontinued. In 1906, however, the ‘Belaieff’ board awarded Scriabin the Glinka prize for his Third Symphony.

In this year (1906) Scriabin printed privately the final version of the verses for the Poem of Ecstasy. The four piano pieces of op. 51 were composed.

There is a further extensive notebook containing attempts to formulate theories of consciousness and its relation to physical phenomena, together with a rough version of the verses for the Poem of Ecstasy , nearly complete, dating from 1905-1906.

Scriabin and Tatyana Schloezer travelled to Brussels in 1906. Scriabin commenced an American tour in December; in March 1907 it was prematurely brought to an end because of scandal involving Scriabin’s non-marital relationship with Tatyana Schloezer, who had joined him in the States.

In the aftermath of this disaster Scriabin and Schloezer travelled to Paris. At a meeting with the board of the ‘Belaieff’ publishing house it was agreed that ‘Belaieff’ should publish the Poem of Ecstasy, but Scriabin did not this year receive the prize for it that he had come to expect. Scriabin tried self-publishing; the three piano pieces of op. 52 were privately printed in Leipzig at his expense. Scriabin and Schloezer travelled to Beatenberg, Switzerland, where work continued on the Poem of Ecstasy, which was finished in November in Lausanne, to where they had moved in September. A few days after the completion of the Poem , the Piano sonata no. 5   op. 53 was begun, and finished in seven days (November 25 – December 1, Old Style).

Scriabin’s first piano roll recordings, for the firm of Hupfeld, were made in January 1908. In February a son was born, Yulian. At the beginning of June the conductor and virtuoso bass-player Sergei (Serge) Kussevitsky (Koussevitzky) visited Lausanne with his wealthy wife, offering Scriabin concerts in Moscow and St Petersburg. Kussevitsky’s ‘Russian Music Publishing company’ took over the publishing of the Three pieces op. 52, the Fifth Sonata op. 53 and opp. 58-64. In November the Sonata no.5 and the Poem of Ecstasy received their first performances, the sonata played by Mark Meichik in Moscow, the orchestral work by the Russian Symphony Orchestra Society of New York conducted by Modest Altschuler. The Glinka Prize for 1908 was awarded to the Poem of Ecstasy.

1909 saw the return of Scriabin and Schloezer to Moscow. Concerts of Scriabin’s compositions took place in St Petersburg ( Poem of Ecstasy , and later a recital by Scriabin), and Moscow (Scriabin played the Waltz op. 38, pieces from opp. 52 and 57, two preludes and the Fifth Sonata in January, and in a February concert in the Great Hall of Moscow Conservatoire he repeated the Sonata in a ‘Scriabin evening’ which also included performances of the Divine Poem and the Poem of Ecstasy conducted by Emil Cooper.) A short piece of great significance for Scriabin’s musical language, the Feuillet d’album op.58, was composed in this year, and work was started on Prometheus.  Scriabin met Vyacheslav Ivanov , the philosopher and poet, at an evening arranged for the composer by the magazine Apollon. This friendship was to have a significant influence on Scriabin’s aesthetic and outlook.

On a personal level this was a time of difficulties with old friends who were not able to accept Scriabin’s ménage with Tatyana Schloezer, and Scriabin, Schloezer and their children moved to Brussels in March, staying until January 1910, when they returned finally to Moscow. Here, according to a letter from Tatyana Schloezer to the pianist Mariya Nemenova-Lunts, Scriabin composed “a great deal, again new, again infinitely beautiful! He is feeling elation and a flood of creative energy…” This must refer to work on Prometheus. In Brussels Scriabin met a number of Theosophists, among them being Jean Delville, who designed the symbolic cover for the score of Prometheus.

A tragic note was sounded by the death of Scriabin’s son with Vera Ivanovna, Lev, in 1910. In the same year Scriabin recorded a few pieces on piano rolls for the firm of Welte.

Life continued with the birth of another daughter, Marina, in 1911, with successful concert performances, including the première of Prometheus in St Petersburg, conducted by Kussevitsky, in March 1911 and intensive compositional work: the Piano sonatas nos. 6 and 7 opp. 62 and 64 were composed in 1911-12; the Sonatas no. 8 op. 66, no.9 op. 68 and no. 10 op. 70 were finished by June 7 1913 (Old Style), the Eighth being the last to be composed. After a dispute with Kussevitzky, Scriabin reverted to his first publisher Jurgenson, and the Three Etudes op. 65 and all subsequent works were published by that firm.

Scriabin was obliged to give concert tours in provincial towns and cities to support his family. It was perhaps in these years that Scriabin really established his reputation as a unique interpreter of his own music, though controversy continued over the characteristic qualities of his playing.

At this time Scriabin was increasingly concerned with being able to turn to his long-cherished project, the Mystery , whose origins can be seen in the choral finale to the Symphony no. 1 and in the unfinished opera project, and which ‘became more minutely crystallized’, Alfred Swan states, in the time spent in Brussels. It had now assumed such gigantic proportions that Scriabin had recourse to a projected work for voices and orchestra which he named Preliminary Action . The music of some of the 5 Preludes op. 74 and of the Flammes sombres in op. 73 (both composed in 1914) relates to the sketches which remain of this work, which Scriabin had in his head, stating that he only needed to write it down – he played long stretches of it to friends at that time. The libretto was written in Summer 1914, after Scriabin’s highly successful visit to London, during which he performed his Piano concerto and Prometheus in the Queen’s Hall with Henry Wood and gave two recitals in the Wigmore Hall (then the Bechstein Hall). But it was during that visit that an infected boil on Scriabin’s upper lip gave him great pain. The infection returned in April 1915 after Scriabin had given concerts in Moscow, Petrograd (the new non-Germanic name for St Petersburg), Kharkov, Kiev and what turned out to be the final concert, again in Petrograd.  In the course of an agonising few days, and despite desperate attempts at treatment, septicaemia set in; Scriabin died in great agony and delirium.

The funeral was such a huge affair that tickets had to be issued. There are two postludes to this tale, one tragic, the other heartwarming. In 1919, while Tatyana Schloezer was staying with her children in Kiev, her son Yulian Scriabin , who showed extraordinary talent and musical ability, accidentally drowned. Tatyana, it may be said, never fully recovered from this second blow. But the heartwarming episode had happened earlier. Scriabin died without being able to leave his family enough money to pay for the funeral or to live on; and the lease on the flat in Bolshoi Nikolopeskovskii pereulok (now the Scriabin Museum in Moscow) ran out on the same day that he died. Many efforts were made to raise money for the widow and her family. Sergei Rachmaninov , who had long considered Scriabin to have gone off on a ‘wrong path’ compositionally, went on a concert tour playing only works of Scriabin – all profits to go to the Scriabin family. Humanity and altruism took precedence over aesthetic differences between two great artists.

Note: In compiling these notes I have made use principally of the chronology in Skryabin by Sergei Fedyakin (Moscow 2004). But I have also made reference to the following:

Myzykalnyi Sovremennik (Musical Contemporary) 4-5, Dec. 1915-Jan. 1916. Handbook to the Piano Works of A. Scriabin , M. Montagu-Nathan, London and Brighton, 1916. Scriabin , Alfred J. Swan, London 1923. A. N. Skryabin. Sbornik k 25-letiyu so dnya smerti (Anthology for the 25th anniversary of his death) Moscow/Leningrad, 1940. Letopis’ zhizni i tvorchestva A. N. Skryabina (Chronicle of the life and work of Skryabin), M. P. Pryashnikova and O. M. Tompakova, Moscow, 1983. A. N. Skryabin , Valentina Rubtsova, Moscow 1989.

[1] Until January 1st 1918 Russia followed the Julian calendar (“Old Style”). At the period under discussion, this varied from the Gregorian calendar used in the West (“New Style”)  by twelve  days up to Feb 16 1900 Old Style and thirteen days thereafter.

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