Summary

'''Alexander Nikolayevich Scriabin'''Scientific transliteration: ''Aleksandr Nikolajevi\u010d Skrjabin''; also transliterated variously as '''Skriabin''', '''Skryabin''', and (in French) '''Scriabine'''. (;
, ; - )The British historian Simon Sebag Montefiore, in footnote 62, page 39 of his book ''Stalin: The Court of the Red Tsar'' (2003) takes issue with the common claim of Scriabin being a "cousin" or a "relative" of Vyacheslav Molotov, born Vyacheslav Mikhailovitch Skryabin. (Translated from a note of this article on the French WP.) was a Russian composer and pianist. Scriabin, who was influenced by Frédéric Chopin, composed early works that are characterised by tonal language. Later in his career, independently of Arnold Schoenberg, Scriabin developed a substantially atonal and much more dissonant musical system, which accorded with his personal brand of mysticism. Scriabin was influenced by synesthesia, and associated colors with the various harmonic tones of his atonal scale, while his color-coded circle of fifths was also influenced by theosophy. He is considered by some to be the main Russian Symbolist composer.

Scriabin was one of the most innovative and most controversial of early modern composers. The ''Great Soviet Encyclopedia'' said of Scriabin that, "No composer has had more scorn heaped on him or greater love bestowed." Leo Tolstoy described Scriabin's music as "a sincere expression of genius."E. E. Garcia (2004): [http://fdelius.free.fr/RachScriabinPsaRev.pdf ''Rachmaninoff and Scriabin: Creativity and Suffering in Talent and Genius'']. ''Psychoanalytic Review'', 91: 423-42. Scriabin had a major impact on the music world over time, and influenced composers such as Igor Stravinsky, Sergei Prokofiev, and Nikolai Roslavets. However Scriabin's importance in the Soviet musical scene, and internationally, drastically declined. According to his biographer, "No one was more famous during their lifetime, and few were more quickly ignored after death." Nevertheless, his musical aesthetics have been reevaluated, and his ten published sonatas for piano, which arguably provided the most consistent contribution to the genre since the time of Beethoven's set, have been increasingly championed.