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The
life and works of Skrjabin and D’Annunzio show many singular analogies: if the
poet was born in 1863 and the musician in 1872, with nine years separating them
and in completely different geographical and cultural contexts, yet their lives
seemed to develop in parallel, marked by the same influences and by similar
ideals, perfectly in tune with the
symbolistic climate of the end of the 19th century.
From the portraits available and from a few descriptions, we know that
they also looked like each other as regards their appearance and gait. Plechanov
describes Skrjabin as an “ elegant, harmonious and delicate feminine figure”
and D’Annunzio himself describes his juvenile image in the Notturno in these
terms: “the forehead is smooth under thick masses of hair. The eyebrows are
outlined with such a purity in a
way as to give something inexpressibly virginal to the melancholy of the big
eyes”. Although their field of action was different,
D’Annunzio, according to his own assertions, aspired to solve poetry in
music all over his life, and similarly Skrjabin always tended to illustrate his
music with poetry. Yet , it is not proved that the two artists
met personally, nor that the musician
read something by D’Annunzio, even if the poet was translated in
Russian by Jurgis Baltrusajtis, a brotherly friend of Skrjabin’s; there is
also little chance that D’Annunzio knew about Skrjabin’s writings, which at
that time did not circulate but in Russian, yet he might have known about
Skrjabin’s aesthetic theories, which his several disciples used to spread in
Europe; what is sure is that from the moment he heard his music , he became
passionately fond of it. It is therefore
worthwhile specifying under which
circumstances D’Annunzio’s interest in the Russian composer’s work was
born. Click here to request the complete text (Italian version only) |
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