Later, and independently of his influential contemporary Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal,[3] which accorded with his personal brand of metaphysics.

Scriabin found significant appeal in the concept of Gesamtkunstwerk as well as synesthesia, and associated colours with the various harmonic tones of his scale, while his colour-coded circle of fifths was also inspired by theosophy.

"[4] Scriabin's oeuvre exerted a salient influence on the music world over time, and inspired composers such as Igor Stravinsky, Sergei Prokofiev,[5] and Karol Szymanowski.

"[6][page needed] Nevertheless, his musical aesthetics have been reevaluated since the 1970s, and his ten published sonatas for piano and other works have been increasingly championed, garnering significant acclaim in recent years.

[7] Alexander's paternal grandmother, Elizaveta Ivanovna Podchertkova, daughter of a captain lieutenant, came from a wealthy noble house of the Novgorod Governorate.

His aunt Lyubov (his father's unmarried sister) was an amateur pianist who documented Sasha's early life until he met his first wife.

[13] He ranked generally first in his class academically, but was exempt from drilling due to his physique and given time each day to practice piano.

Feeling challenged by Josef Lhévinne, he damaged his right hand while practicing Franz Liszt's Réminiscences de Don Juan and Mily Balakirev's Islamey.

[16] In August 1897, Scriabin married the pianist Vera Ivanovna Isakovich, and then toured in Russia and abroad, culminating in a successful 1898 concert in Paris.

With a wealthy sponsor's financial assistance, Scriabin spent several years travelling in Switzerland, Italy, France, Belgium and the United States, working on more orchestral pieces, including several symphonies.

[19] In 1907, Scriabin settled in Paris with his family and was involved with a series of concerts organized by the impresario Sergei Diaghilev, who was actively promoting Russian music in the West at the time.

For some time before his death he had planned a multimedia work, to be performed in the Himalayas, that would cause a so-called "armageddon", "a grandiose religious synthesis of all arts which would herald the birth of a new world.

"[20][failed verification] Scriabin left only sketches for this piece, Mysterium, although a preliminary part, L'acte préalable ("Prefatory Action"), was eventually made into a performable version by Alexander Nemtin [de].

[21] Part of that unfinished piece was performed with the title Prefatory Action by Vladimir Ashkenazy in Berlin with Alexei Lubimov at the piano.

He received rave reviews from music critics, who called his playing "most inspiring and affecting", and wrote, "his eyes flashed fire and his face radiated happiness".

The development of Scriabin's style can be traced in his ten piano sonatas: the earliest are composed in a fairly conventional late-Romantic manner and reveal the influence of Chopin and sometimes Liszt, but the later ones are very different, the last five lacking a key signature.

[29] At first, the added dissonances resolve conventionally according to voice leading, but the focus slowly shifts to a system in which chord coloring is most important.

[39] Scriabin was interested in the philosophies and aesthetics of German authors such as Schopenhauer, Wagner, and Nietzsche, all of whom greatly influenced his musical and philosophical thought.

[46] Originating from Nikolai Fyodorov's and Solovyov's ideas, Russian cosmism sought to unite humanity in a cosmic evolution, integrating spirituality and technology.

Russian cosmism is an action-oriented tradition that aims to unite humanity through various means, from technology to spirituality, in a cosmic mission of active evolution and transformation.

Scriabin's works reflect key cosmist themes: the importance of art, cosmos, monism, destination, and a common task for humanity.

Rimsky-Korsakov protested that a passage in Rachmaninoff's opera The Miserly Knight accorded with their claim: the scene in which the Old Baron opens treasure chests to reveal gold and jewels glittering in torchlight is in D major.

On 22 November 1969, the work was fully realized, making use of the composer's color score as well as newly developed laser technology on loan from Yale's Physics Department, by John Mauceri and the Yale Symphony Orchestra and designed by Richard N. Gould, who projected the colors into the auditorium reflected by Mylar vests worn by the audience.

[57] While this indirect evidence of Scriabin's pianism prompted a mixed critical reception, close analysis of the recordings within the context of the limitations of the particular piano roll technology can shed light on the free style he favoured for his own works, characterized by extemporary variations in tempo, rhythm, articulation, dynamics, and sometimes even the notes.

[60][61] Surveys of the solo piano works have been recorded by Gordon Fergus-Thompson, Pervez Mody [de], Maria Lettberg, Joseph Villa, Michael Ponti, and Elina Akselrud.

The complete published sonatas have also been recorded by Dmitri Alexeev, Ashkenazy, Robert Taub, Håkon Austbø, Boris Berman, Bernd Glemser, Marc-André Hamelin, Yakov Kasman, Ruth Laredo, John Ogdon, Garrick Ohlsson, Roberto Szidon, Anatol Ugorski, Anna Malikova, Mariangela Vacatello, Mikhail Voskresensky, and Igor Zhukov, among others.

Other prominent performers of Scriabin's piano music include Samuil Feinberg, Elena Bekman-Shcherbina, Nikolai Demidenko, Marta Deyanova, Sergio Fiorentino, Andrei Gavrilov, Emil Gilels, Glenn Gould, Andrej Hoteev, Evgeny Kissin, Anton Kuerti, Elena Kuschnerova, Piers Lane, Eric Le Van, Alexander Melnikov, Stanislav Neuhaus, Artur Pizarro, Mikhail Pletnev, Jonathan Powell, Burkard Schliessmann, Grigory Sokolov, Alexander Satz, Yevgeny Sudbin, Matthijs Verschoor, Arcadi Volodos, Roger Woodward, Evgeny Zarafiants, Aleksei Chernov [ru], Margarita Shevchenko Margarita Shevchenko [pl], and Daniil Trifonov.

Rachmaninoff, a pallbearer, subsequently embarked on a grand tour of Russia, performing only Scriabin's music for the family's benefit.

Roslavets was not alone in his innovative extension of Scriabin's musical language, as quite a few Soviet composers and pianists, such as Feinberg, Sergei Protopopov, Nikolai Myaskovsky, and Alexander Mosolov followed this legacy until Stalinist politics quelled it in favor of Socialist Realism.

Regarded as a heroine in France, she was released prematurely but imprisoned a year later in Israel for alleged involvement in the killing of Folke Bernadotte.