gregorian christmas tour 2022

PURE CHANTS WORLD TOUR 2023

GREGORIAN The Original

Like so many of the great success stories of the past, the tale of GREGORIAN also began from humble origins. No one could have predicted the level of success that would eventually be realized by one man's ingenious creation.    And yet… If we turn our gaze back all the way to the beginning, before the gold and platinum awards and the millions of recordings sold. If we stopped at each country visited, paid homage to every city played and reignited the millions of hearts around the world that have been touched by the emotive music and stunning spectacles of GREGORIAN. We would discover that at one point it was all nothing more than the infant flicker of an idea. An idea from a man who had the audacity to merge two separate worlds.   In the year of 1989 a young Frank Peterson walked contemplatively through the royal monastery of San Lorenzo de El Escorial in Spain. The grounds of the medieval monastery left an indelible mark on his soul. Accompanying Peterson as he walked was the feint sound of modern-day music playing quietly through the headphones of his Walkman. Moved by the stark contrast of these two colliding worlds the initial idea of mixing ancient Gregorian music with modern day hits took hold of Peterson and the rest, as they say, is history.   Peterson initially brought the idea to life for the first time with Michael Cretu with the worldwide sound phenomenon Enigma. The first album MCMXC a.D. appeared in 1990 and quickly became a worldwide success story. MCMXC a.D. was number 1 in 41 different countries and received 57 platinum and 45 gold medals. It is consequently considered the most successful German album of all time.   The success of Enigma prompted Peterson to take a step forward with his initial idea of GREGORIAN. He established GREGORIAN as an independent music act. Their first album “Masters Of Chant” followed Peterson’s previous success with Enigma seamlessly. Over the following years GREGORIAN has sold more than 10 million recordings worldwide with 21 CDs & 9 DVDs, and has achieved gold and platinum status in 24 different countries. So far the Gregorian repertoire consists of almost 300 songs, ranging from classical music to pop standards and contemporary rock tracks of the last 40 years.   The concert productions themselves further reflect the individual creativity of Frank Peterson who has produced breath-taking shows in arenas, theatres, and churches that thrill fans and critics in Europe, Asia, Africa and the Middle East. Almost 3 million visitors have watched GREGORIAN live at their concerts in 35 countries. 

To experience GREGORIAN live is to witness an audio and visual spectacle that in 20 years to date has never failed to procure a standing ovation from the public.   In 2015 GREGORIAN announced the end of the Masters Of Chant Saga with the album “The Final Chapter” which climbed to #8 in the German charts. The accompanying tour led GREGORIAN to over 80 cities across Europe. In 2020 GREGORIAN celebrated its 20th anniversary and announced an extensive World Tour. Due to the Covid situation the tour came to an early halt with 25 shows being postponed to early 2022.    On December 17, 2021 GREGORIAN will release their first ever PURE CHANTS album, featuring mainly classical choral works and hymns plus some folk and pop favorites. 

The album release will be followed by their PURE CHANTS world tour,  set for all of 2023, where GREGORIAN will play more than 180 shows across Europe, Asia, North and South America.

Frank Peterson was born in 1963 in Hamburg and raised near Lübeck. After living for six years in Munich, Madrid and on Ibiza, Frank now commutes between Hamburg and Miami, Florida.

Frank is the founder and owner of Nemo-Studios and omeN-Publishing and the international award winning recording and touring act Gregorian. Apart from GREGORIAN, Frank has worked as producer and/or composer for artists like:

Enigma | Alannah Myles | Justin Timberlake | Sarah Brightman | José Carreras | Tom Jones | Andrea Bocelli Placido Domingo |  Errol Brown |  Ofra Haza |  Paul Stanley (Kiss) |  Backstreet Boys |  Sandra |  Josh Groban

Alessandro Safina |  Mario Frangoulis |  Marky Mark |  I Muvrini |  Florent Pagny |  Ricardo Cocciante

Helmut Lotti |  Princessa |  Nevio |  Fortenbacher

For record sales exceeding 60,000,000 units Frank has received more than 180 gold and platinum awards from 42 countries on all 5 continents.

He has also composed and/or produced music for international blockbuster movies and global advertising campaigns and produced/directed global concert tours as well as TV programs for Sarah Brightman and Gregorian.

Frank plays drums, keyboards and bass, his hobbies are boating, scuba-diving, horseback riding, architecture, design, motion pictures, concerts and stage productions. 

Frank’s musical taste is very diverse and ranges from core classical to rock.

Frank Peterson is currently producing the German artist Anne Heinz, with her debut to be released in late 2022 and across 2023.

A second pure Gregorian chant album is going to be released in winter 2022, followed by world-tour with more than 160 concert dates.

Frank has concluded a global advertising campaign song for Panasonic and is currently preparing an en-suite Christmas Broadway show for 2023 and a TV series about traveling Europe including culture, music and arts.

FRANK PETERSON

GREGORIAN: Pure Chants

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Gregorian is simply amazing to hear. The way the chanting flows over the instruments is a truly unique and beautiful experience. There aren't that many musical acts about which you can boast so totally and throughly. The music will haunt you for a long time. When they perform, they do so with an immense level of passion and feeling.

They engage the audience in a way that pulls you in and brings the experience ti a level that is higher than almost any other musical act you will ever see.The vocal talent itself is worth the price of admission. The unique approach of the chanting is simply stunning. I have never heard another act that sounds anything like Gregorian does. The musicality is absolutely tremendous, the impact of the vocals massive.

From song to song, the music has different approaches and the vocals are used differently to keep the show interesting and fresh. If you've never heard this group, then check them out right away! I promise they will have a sound that is new to you. Their live performances are equally impressive.

I saw them in Prague and their cover of Led Zeppelin's Stairway to Heaven was absolutely unforgettable. I highly recommend this group.

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Madrid Theatre

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Gregorian tour dates and tickets 2024-2025 near you

Want to see Gregorian in concert? Find information on all of Gregorian’s upcoming concerts, tour dates and ticket information for 2024-2025.

Gregorian is not due to play near your location currently - but they are scheduled to play 33 concerts across 4 countries in 2024-2025. View all concerts.

Next 3 concerts:

• Mexico City, Mexico
• Guadalajara, Mexico
• Arlington, TX, US

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• The Dark Side of the Chant (11)
• Winter Chants 2014 (2)
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Gregorian – Pure Chants Tour

Sunday, April 14 2024 1903 Theatre 7:30 PM

Member Pre-Sale: Feb 1, 2024 at 10AM Public On-Sale: Feb 2, 2024 at 10AM

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PURE CHANTS I (WORLDWIDE Release) - CD

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Pure Chants Tour 2024

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25 YEARS MASTERS OF CHANT

Anniversary tour 2025.

Our producer Frank Peterson sends a happy message from New York to our Gregorian fans. We are very proud ...

After touring the US for almost three weeks, our album 'Pure Chants' came out of nowhere to number two on ...

Not only is Tristan a fantastic singer, he is also a very good tour guide who is happy to show you a little ...

Wow! Another great night in the US. What an amazing audience. We like to share some wonderful moments of ...

Queridos amigos de GREGORIAN de México 🇲🇽 Tú y nosotros hemos estado esperando durante más de 20 años para ...

It is always a pure joy and excitement for us to meet you in different countries and cities. We are ...

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Friday, April 5 @ 8:00 pm

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Event Details

For over 20 years, more than three million people in 31 countries have been enchanted by Gregorian’s live performances. These eight classically trained English vocalists have never failed to bring their audiences to their feet multiple times at every show. 

Description

Nemo Studios is proud to announce that Gregorian is bringing their first-ever North American tour to theaters and performing arts centers in the fall of 2023 and spring of 2024. The tour will feature special guest performers Amelia Brightman and sensational counter-tenor Narcis.

In 1999, the Gregorian triumph began with their initial album, Masters of Chant which earned multiple gold and platinum awards across Europe and Asia. The project’s creator is renowned producer, Frank Peterson. He previously broke ground as cocreator of the Enigma project and consequently pursued his idea of merging pop/rock music with chorale in the style of medieval chants. With Gregorian, Peterson created and established a unique music genre. Gregorian’s 20-year success story has resulted in more than 10 million albums sold, sold-out concerts, and a constantly growing worldwide fanbase.

In times that leave little room for reflection, Gregorian has become a global phenomenon. Their music and concerts are spiritually uplifting, and their unique presentation allows their audience to escape from everyday life in a wondrous way. 

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About Gregorian

For over 20 years, more than three million people in 31 countries have been enchanted by  GREGORIAN ’s live performances. These eight classically trained English vocalists have never failed to bring their audiences to their feet…multiple times…at EVERY show.

Nemo Studio is proud to announce that  GREGORIAN  is bringing its first-ever North American tour to theaters and performing arts centers in the fall of 2023 and spring of 2024, with 30-45 concerts currently being planned in the U.S., Mexico and Latin America, featuring special guest performers  Amelia Brightman  and sensational counter-tenor  Narcis.

“It is always a big challenge for an act to tour new markets, “says Michael Kelley, VP Performing Arts, New Frontier Touring. “For me, it is an honor and a privilege to be booking this unique music project for the first time in the US.”

In 1999, the  GREGORIAN  triumph began with their initial album Masters Of Chant, which earned multiple gold and platinum awards across Europe and Asia.  The project’s creator, renowned producer  Frank Peterson , who had previously broken ground as co-creator of the  Enigma  project, consequently pursued his idea of merging pop/rock music with chorale in the style of medieval chants.

With  GREGORIAN , Peterson created and established a unique music genre.   GREGORIAN ’s 20-year success-story has resulted in more than 10 million albums sold, sold-out arena concerts and a constantly growing worldwide fan base.

Peterson, who has produced all of Sarah Brightman’s albums over the past 30 years and brought Andrea Bocelli to international fame, says, “I am extremely excited about finally touring my pet project GREGORIAN in North America, and I hope that in the next few years we can build an equally ecstatic audience like we did all over Europe and Asia.”

In times that leave little room for reflection,  GREGORIAN  have become a global phenomenon. Their music and concerts are spiritually uplifting and their unique presentation allows their audience to escape from everyday life in a wondrous way–the current CD  PURE CHANTS   and the planned World Tour 2023-2024 continues this legacy.

The tour will be supported by the  PURE CHANTS I and II  album releases, plus  GREGORIAN  plans to film a spectacular television special in a very unique venue for world-wide broadcast and streaming to support the global tour dates.

Local public television stations have also been supporting the upcoming tour with a broadcast of a television special showcasing some of the best live moments from the European shows over the years, and offering premium items only available via the stations, including VIP concert tickets with a meet & greet,  PURE CHANTS I & II  box set,  PURE CHANTS  DVD, and the Gregorian EarBook coffee table book.

Per New York City’s guidance, Sony Hall is requiring all guests, staff & musicians ages 12+ to be fully vaccinated against Covid-19 to enter. Children ages 5 to 11 must have received at least one dose. Proof of vaccination may include your physical CDC card, photo of your CDC card, NYC Covid Safe App, or the NYS Excelsior Pass. In addition to the vaccination policy, New York City continues to encourage masks for all indoor gatherings, except while you are actively eating and drinking.

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• 20 Years Play Video
• The Sound of Silence ( Simon & Garfunkel  cover) Play Video
• Hymn ( Barclay James Harvest  cover) Play Video
• In the Air Tonight ( Phil Collins  cover) Play Video
• Join Me in Death ( HIM  cover) Play Video
• With or Without You ( U2  cover) Play Video
• Engel ( Rammstein  cover) Play Video
• Crying in the Rain ( Carole King  cover) Play Video
• Meadows of Heaven ( Nightwish  cover) Play Video
• Hells Bells ( AC/DC  cover) Play Video
• Streets of Philadelphia ( Bruce Springsteen  cover) Play Video
• World Without End Play Video
• Sky and Sand ( Paul Kalkbrenner  cover) Play Video
• Masters of Chant Play Video
• Say Something ( Christina Aguilera  cover) Play Video
• Blowin' in the Wind ( Bob Dylan  cover) Play Video
• Faded Play Video
• Voyage Voyage Play Video
• Pie Jesu Play Video
• Ave Maria ( Charles Gounod  cover) (with Narcis ) Play Video
• Frozen World Play Video
• One More Day (with Amelia Brightman ) Play Video
• Funeral (with Amelia Brightman ) Play Video
• Gaudete / Mary, Did You Know / In My Life / Crazy, Crazy Nights / Only You / Good Night, Companions Play Video
• Moment of Peace Play Video
• Gloria (with Narcis ) Play Video
• Cups Play Video
• Hallelujah ( Leonard Cohen  cover) Play Video
• Viva la Vida ( Coldplay  cover) Play Video
• Fairytale of New York ( The Pogues  cover) Play Video

Edits and Comments

17 activities (last edit by event_monkey , 24 Apr 2022, 15:49 Etc/UTC )

Songs on Albums

• Ave Maria by Charles Gounod
• Blowin' in the Wind by Bob Dylan
• Crying in the Rain by Carole King
• Engel by Rammstein
• Fairytale of New York by The Pogues
• Hallelujah by Leonard Cohen
• Hells Bells by AC/DC
• Hymn by Barclay James Harvest
• In the Air Tonight by Phil Collins
• Join Me in Death by HIM
• Meadows of Heaven by Nightwish
• Say Something by Christina Aguilera
• Sky and Sand by Paul Kalkbrenner
• Streets of Philadelphia by Bruce Springsteen
• The Sound of Silence by Simon & Garfunkel
• Viva la Vida by Coldplay
• With or Without You by U2
• Gaudete / Mary, Did You Know / In My Life / Crazy, Crazy Nights / Only You / Good Night, Companions
• One More Day
• Moment of Peace
• Voyage Voyage
• World Without End
• Masters of Chant
• Frozen World

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• Feb 01 2020 Capitole Ghent, Belgium Add time Add time
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• Feb 20 2020 Crocus City Hall This Setlist Moscow, Russia Add time Add time
• Feb 23 2020 DK Lensoveta Saint Petersburg, Russia Add time Add time
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Trans-Siberian Orchestra Announces 2022 Winter Tour: ‘The Ghosts Of Christmas Eve – The Best Of Tso & More’

Multi-platinum, progressive rock group Trans-Siberian Orchestra (TSO) - today announced the dates for its highly anticipated 2022 winter tour, The Ghosts of Christmas Eve – the Best of TSO & More presented by Hallmark Channel. After its first year off the road in more than two decades, TSO made a triumphant return to touring in 2021 with a 25th anniversary celebration of Christmas Eve and Other Stories. For 2022, TSO brings a completely updated presentation of the unforgettable, multi-generational holiday tradition, “The Ghosts of Christmas Eve,” to 60 cities across the nation. 

Wells Fargo Center and Live Nation are proud to welcome TSO when they return to Philadelphia for 2 spectacular shows on Sunday, December 18 at 3pm and 7:30pm at Wells Fargo Center. Tickets for both shows go on sale Friday, September 16 10am at wellsfargocenterphilly.com and the Wells Fargo Center Box Office with a portion of the proceeds benefiting WMGK’s/Salvation Army and WBEB/Children’s Hospital of Philadelphia. Beginning with the public on sale, a limited number of specially priced $29* tickets will be available for one week or while supplies last.

Keeping with the O'Neill's vision ( Paul O’Neill , and his wife Desi ), TSO remains one of rock’s most charitable bands. Once again, thankfully, TSO will give at least $1 from every ticket sold to charity. To date, approximately $18 million has been donated by the group. Desi O’Neill said, “we want to thank the fans so much for the kindness they showed in coming out last year. It meant the world to our family. Moreover, the credit for any charitable donation is due to you not us. The only way we are able to help all is because of you.”

A product of the imagination of TSO’s late founder Paul O’Neill, and his wife Desi, and based on TSO’s multi-platinum CD and TV special, “The Ghosts of Christmas Eve,” the rock opera features such enduring fan-favorites as "Christmas Eve/Sarajevo 12/24," "O’ Come All Ye Faithful," "Good King Joy," "Christmas Canon," "Music Box Blues," "Promises To Keep," and "This Christmas Day." 2022’s tour will also boast a rousing second set containing more of TSO’s greatest hits and fan-pleasers including “Wizards In Winter,” “A Mad Russian’s Christmas,” and many more.

“It was so special to be back playing live last year. When you love something as much as we do and it's taken away, it made us super thankful to be back. I look forward to seeing all our ‘repeat offenders’ and all our new friends when we hit the road,” said TSO’s music director and lead guitarist Al Pitrelli . “I love all of Paul’s stories, but ‘The Ghosts of Christmas Eve’ is one of my favorites and can’t wait to unveil this incredibly amazing new show for everyone. We know some people may be having tough times, so we worked hard with the local promoters and arenas to have a low priced $29 ticket to do our part in helping out. God Bless all of you and see you in November and December when we celebrate in-person once again.”

For more details on tour dates and ticket sales, visit www.trans-siberian.com .

Since its touring debut, TSO has played more than 2,000 Winter Tour shows to approximately 18 million fans, with tour grosses of more than $725 million, and has sold more than 12 million albums and DVDs.  Year-after-year TSO hits the upper reaches of the domestic and worldwide tour charts. Recently, Pollstar published its compiled touring charts for the past 40 years. TSO ranked No. 11 in Tickets Sold and No. 21 in Top Box Office Grosses. In June, Billboard placed TSO at No. 9 on its Mid-Year Boxscore Report, based on concerts from November 1, 2021, through April 30, 2022. Previously, TSO placed No. 31 on Billboard ’s “ Top Touring Artists of the Decade (2010s).” Additionally, at the close of the aughts, the group was ranked at No. 20 on Pollstar ’s “ Top Tour(s) of the Decade ” and No. 25 on Billboard ’s “ Top Touring Artists of the Decade .”

  * plus applicable taxes and fees.

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Christmas gift guide to Moscow surroundings

Visitors from America and Western Europe might be surprised to discover that Russia celebrates Christmas on January 7th. That’s because the Russian Orthodox Church follows the Julian calendar. After the end of the Soviet Union, some Russians have begun celebrating Christmas on December 25 in accordance with the Gregorian calendar. But many Russians still observe the tradition of fasting on January 6th, breaking the fast with a large feast on Christmas Eve after the first star has appeared in the sky.

During the Soviet era, Christmas and religious traditions were banned in Russia. Santa Claus was replaced by Ded Moroz, or, Grandfather Frost, an old man with a long white beard who would bring gifts to children on New Year’s instead of Christmas. According to Russian tradition, Ded Moroz is accompanied by his granddaughter, Snegurochka, the Snowmaiden, who helps him on his journey to give presents to children.

Although the tradition of having a Christmas tree, known as a yolka in Russian, was also banned during Soviet times, Russians got around this by having New Year’s trees from which they hung homemade decorations. Today, the restrictions of the Soviet Union have faded into history, and during the Christmas season visitors to Russia can even purchase Christmas ornaments in the shape of matryoshka dolls, or religious icons that depict nativity scenes.

Heading counterclockwise around the Golden Ring this holiday season, northeast of Moscow, your first stop will most likely be the city of Vladimir, home to some of Russia’s most striking churches and cathedrals. The Vladimir region is known for its fine crystal. Stop by the Crystal, Lacquer Miniatures, and Embroidery Museum ( 2 Bolshaya Moskovskaya ) for an overview of traditional crafts before visiting the gift shop in the museum to browse the crystal selection. Vladimir Chic ( 2 Dvoryanskaya ) also sells local glass and crystal work.

Typical souvenirs are also for sale in Vladimir’s old town, especially by the Golden Gate, a triumphal arch and defensive tower that is one of the last-remaining parts of the wall that once surrounded ancient Vladimir and a sure stop on any tour of the Golden Ring.

Just 63 kilometers from Vladimir lays the nearby city of Gus-Khrustalny , the ‘Crystal Goose,’ also home to a rich glass and crystal making tradition. You can visit the glassmaking factory in Gus-Khrustalny and buy gifts ranging from plates and vases to decanters, or visit the outlet store back in Moscow ( 4 Ilyinka ) just east of the Kremlin.

North of Vladimir, you’ll arrive in Suzdal, one of the Golden Ring route’s more tranquil towns. Suzdal boasts a number of small bazaars and stands outside the main tourist sites where visitors can purchase local honey mead, called medovukha, along with traditional crafts, like a pair valenki, or Russian woolen boots, which make an ideal Christmas gift for friends and family back home. The shopping stands outside Suzdal’s Museum of Wooden Architecture and Peasant Life ( Ul. Pushkarskaya ) are also highly recommended. Market Square ( Torgovaya Pl ) houses a number of shops where visitors can search for arts and crafts.

Following the Golden Ring north of Suzdal, many tours will stop in the city of Kostroma, a former trading outpost on the immense Volga River. One of the city’s highlights is the Museum of Linen and Birchbark ( 38 Tereshkova ), where visitors can view exhibits on traditional Russian crafts woven from flax and bark. A gift shop in the basement sells tablecloths, napkins, baskets, linen dolls, and traditional clothing typical of the region.

South from Kostroma, stop in the city of Rostov-Veliky for enamel jewelry, a craft which allows artists to produce small paintings on metal that are then fired to produce a thin glaze over the image. Rostov became famous for its tradition of enamel work. Today, visitors can purchase rings, earrings, bracelets, brooches, and jewelry boxes in the gift shop of the Rostov Enamel factory ( 3 Borisoglebskoye Highway ).

While you’re in Rostov, visit the House of Crafts ( 16 Vtoraya Tolstovskaya Naberezhnaya ) for local pottery and the Souvenirs shop ( 5 Ul. Kamennyi Most ) for ushanka hats—Russian fur caps with earflaps—paintings, and samovars for tea lovers.

The last two stops on a tour of the Golden Ring are the cities of Pereslavl-Zalesskiy and Sergiev Posad. Pereslavl is most famous for its embroidery work, available at the Art Salon ( 12 Ul. Sovetskaya ) along with souvenirs made of wood and stone. Nearby Sergiev Posad is considered the place where Russia’s matryoshka dolls were first invented, and was the chief production center of the dolls before Soviet times. Visit the city’s Toy Museum ( 123 Pr. Krasny Armii ) to get a better sense of the birthplace of one of Russia’s most recognizable toys, then head over to the market alongside the Trinity Monastery of St. Sergius—one of the city’s most important sites—to load up on matryoshka dolls, painted eggs, and icons before going home.

If you’ll be in the Golden Ring during New Years, the city of Vladimir hosts an impressive Christmas fair, with an iceskating rink and performances by local artists, in the main square ( Sobornaya Pl ). In most other Golden Ring cities you’ll find similar events in the center square as Christmas nears.

Most shops and markets in the Golden Ring are open year round. If you’re coming to Russia for a short period of time, whether in winter or summer, consider a trip to this stunning part of the country, and bring an extra bag if you plan to go shopping for Christmas gifts.

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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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