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Capercaillie

One of the very best celtic folk-rock bands around mixing traditional Celtic melodies with contemporary rhythms to create the unique and dynamic more...

• May 01 Wed Glasgow, Royal Concert Hall Glasgow Gig For Gaza Deacon Blue, Capercaillie, Rura, James Grant, Siobhan Miller… View Tickets

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Closure In Moscow Announce ‘The Singularity’ Tour

By John Ritchie

It seems that fans of Melbourne’s Closure In Moscow just can’t get enough. Days after wrapping up their Supreme Turbo Facilitator Tour (selling out all but one of the shows) the popular five piece have announced their Singularity Tour featuring headline dates in all capital cities.

The tour marks the beginning of what plans to be a super massive travel cycle for Closure In Moscow as they head across to the U.S on the Warped Tour playing all 44 shows.

Support on the tour is from good buddies, Secrets In Scale. Tickets for all shows are on sale now.

Closure in Moscow ‘The Singularity Tour’ plus guests Secrets In Scale

Thursday 27th May Mona Vale Hotel, Sydney 18+ Tix: www.moshtix.com.au/closureinmoscow

Friday 28th May 28th Gaelic Theatre, Sydney 18+ Tix: www.moshtix.com.au/closureinmoscow

Saturday 29th May The Civic Hotel, Perth 18+ Tix: www.moshtix.com.au/closureinmoscow

Sunday 30th May YMCA HQ, Perth U18 2pm 5pm Tix: www.moshtix.com.au/closureinmoscow

Thursday 3rd June Republic Bar, Hobart 18+ Tix: www.moshtix.com.au/closureinmoscow

Friday 4th June Fowlers Live, Adelaide Lic/AA Tix: www.moshtix.com.au/closureinmoscow

Saturday 5th June East Brunswick Club, Melbourne 18+ Tix: www.moshtix.com.au/closureinmoscow www.eastbrunswickclub.com / The East box office – PH: 9388 9794

Sunday 6th June Phoenix YouthCentre, Melbourne U18 2pm -6pm Tix: www.moshtix.com.au/closureinmoscow

Thursday 10th June The Fort, Brisbane U18 6pm 9pm Tix: www.moshtix.com.au/closureinmoscow

Friday 11th June The Zoo, Brisbane, 18+ Tix: www.moshtix.com.au/closureinmoscow, http://zoo.oztix.com.au

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A History of Moscow in 13 Dishes

Featured city guides.

• Regent Seven Seas Cruises

Best of Moscow by high speed train

By shuguley , February 15, 2014 in Regent Seven Seas Cruises

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Sure would appreciate someone who has taken "Best of Moscow by high speed train" from St. Petersburg could please share their impressions of this shore excursion. From the description this sounds like a very long day.

Wondering how the 4 hour train trip was in terms of accommodations, etc. Also what time did you leave the ship and what time at night did you return? Were both legs of the trip on the high speed rail (I read that slower trains also travel the same tracks)?

My wife and I are considering this excursion. We thought that if we are making all the effort to go to Russia then how could we pass up going to Moscow, walking in Red Square, seeing St. Basil, etc.

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If you are considering this on the 2015 June Baltic cruise on Voyager; my suggestion is don't. There is so much to do in St. Petersburg and although a train is one of my favorite ways to travel the time would be far better spent in St. P.

Thanks for the advice. Yes, this would be on the Voyager during the 2015 season but not yet sure exactly which cruise.

We did the Moscow excursion "on a different luxury line", but from your brief description it sounds very much like the same trip, so I will operate on that assumption. It is a VERY long day! We left the ship at 5:30 AM and returned at 12:30 AM. The highspeed train trip is comfortable, and while they call it "Business Class" it does not compare well to the equivalent class on say Rail Europe. When we did it in 2011, we did have highspeed both ways, and the trip back seemed much longer as the adrenaline and excitement had worn off!:D

Moscow itself is not that terribly different from any other big city in the world, but this Cold War kid never thought he would ever stand in Red Square, never mind walk the grounds of The Kremlin, or tour The Kremlin Palace, or see (but not visit) Lenin's Tomb, or visit The Armoury. But he did, and he loved every minute of it! Yes, it is a long day, and you barely scratch a scratch on the surface, but it is worth it. There is a tremendous amount to see in St. Petersburg, but every Baltic cruise goes to St. Petersburg, so you can go back if you choose to. Not every cruiseline offers you the chance to see Moscow.

I have not personally done this tour, but our last time in St Petersburg, the private guide that we hired for a day was leading the regent tour to Moscow on the high speed train the next day. He said it was way better than the previous alternative, which was flying to Moscow and back. He said that you actually got to Moscow faster because you didn't have to deal with airline checkin etc. it did seem like a very long day to me, and there is so much to see and do in st. Petersburg that I didn't consider doing it.

countflorida

We toured to Moscow from St. Petersburg via the hi-speed SAPSAN train last September, from a Baltic cruise on the Oceania Marina. You need to have a two-night, three day port call in St. Petersburg to take this tour because the tour typically leaves the ship around 5:00 - 5:30 AM and doesn't return until after midnight the next day. We didn't take the ship's tour; we made private arrangements with TravelAllRussia for three days of touring, the first and third days in St. Petersburg and the second day the tour to Moscow by train. Our cost for the private tour for three days was about the same as what the ship charged for the excursion to Moscow alone. There are a number of private tour agencies that operate in St. Petersburg and offer the Moscow train tours; we would strongly recommend them over the ship's tours.

All three days had private guides with car and driver. The second day, the driver picked us up at the ship and took us to the train, but we were alone on the train, and met in Moscow by the guide on the station platform. After our tour and dinner, we were brought back to the train and after the return train trip met by the driver and taken back to the ship. Because you are alone on the train you must have your own Russian visas.

If this is your first visit to St. Petersburg, I would agree there is much more to see there. We found Moscow somewhat a disappointment, particularly Red Square. The Kremlin and the cathedral in Red Square were also worth seeing. But the best thing we saw was the Moscow subway! I worked for the Washington Metro system back in the 1980s as it grew from 40 to 80 miles and although I was in the computer area, I learned a lot about the challenges of running a subway system. We used the Moscow system to get across the city from where we had dinner to the train station, and I was amazed at the cleanliness', speed of operation, the short headways maintained, and the courtesy of everyone involved. A very impressive experience!

We had been to St. Petersburg before, and so had the time to take a day and go to Moscow. Also, I really like trains, and the SAPSAN is a German train set running on Russian rails. Seats are like first class domestic air, spacious but not too plush or comfortable, but with enough room. Not too much recline, and almost 8 hours on the train in two shots is a lot for an old man. They come through and sell drinks, candy, etc. but the sellers don't speak English and no one around us helped, so we had just poor coffee once coming, and brought stuff with us for the trip back. Not too much to see from the train either, particularly on the return when it is night the whole way.

If you decide to go, take a private tour and avoid the overly expensive ship's tour. I'm glad we did it, but wouldn't bother to repeat the tour; we've seen Moscow.

Thanks so much to all of you for the thorough and thought insight. Yhe information you have provided is most helpful.

countflorida: Your detailed post is very helpful. We are not quite ready for a Baltic cruise but should do so within a year. Time enough to do our pre travel research, bookings and visa gathering.:) Thank you!

Emperor Norton

Sure would appreciate someone who has taken "Best of Moscow by high speed train" from St. Petersburg could please share their impressions of this shore excursion. From the description this sounds like a very long day.   Wondering how the 4 hour train trip was in terms of accommodations, etc. Also what time did you leave the ship and what time at night did you return? Were both legs of the trip on the high speed rail (I read that slower trains also travel the same tracks)?   My wife and I are considering this excursion. We thought that if we are making all the effort to go to Russia then how could we pass up going to Moscow, walking in Red Square, seeing St. Basil, etc.

I did this on Seabourn. IMO DONT. Take Aeroflop (er Aeroflot). The train has non folding seats where you are literally knee to knee with your fellow passenger (facing each other). Further they don't believe in air conditioning. It's also the worlds slowed bullet train. I think I would have found more enjoyment wandering around the St. Petersburg and Moscow airports.

Countflorida,

This is a little off topic,, however we had planned a river cruise in Russia but decided we would rather stay on land and have booked about two weeks with Travel-All-Russia using the private guide and driver. I'm curious as to how you found them as a tour company.

The guides they provided were fine. We had a different guide each of the days in St. Petersburg, but both were flexible, pleasant, knowledgeable and spoke English very well, as did the guide in Moscow, incidentally. She was a bit aloof, distant, not too friendly, but otherwise fine. In fact, she was the one who suggested taking the Metro, which unexpectedly became one of the highlights of the Moscow excursion. If I have a complaint with AllTravelRussia, it is with their plan and its execution (more later).

I had requested emphasis on World War II (in Russia, the Great Patriotic War) sites and info. In scheduling us, they weren't careful about dates and a couple of the sites we wanted to see were scheduled on the third day, after we'd been to Moscow. But both sites were closed that day of the week, and that info was readily available, right on web sites describing them. Also, the included meals (lunches in St. Pete, dinner in Moscow) were not what we asked for: light meals with some choices, so we could avoid things we didn't like and choose things we did like. My request was ignored; we were given full Russian meals with a fixed menu, no choice. On the first day, a fish dish was the entre, but I am allergic to fish. Fortunately, I had the e-mail I'd sent with me and showed it to the guide, and she was able to change my entre to chicken, which was very good actually. But we didn't want a 3-4 course lunches or dinner (in Moscow). We had the guide drop the lunch the third day, although we never got any credit or refund. But, particularly in contrast to the ship's tours, the prices were so reasonable we didn't worry too much about it.

The people who were on the ship's tour to Moscow saw us boarding the same train for which they were forced to queue up and wait on the way back, and asked us what we had done. I was candid and open so they were not happy when I explained what we had arranged and particularly what it had cost. Also, when we returned to the ship, we found they had laid on a late supper for those who had gone to Moscow, so up we went and had something. Well, it turns out the late supper was supposed to be just for those on the ship's tour, but we and others on 'independent' tours, there were a dozen or more of us, crashed the party, actually got there first, and they didn't realize it until the larger group arrived and there weren't enough tables/places set. By that time, the 'independents' had all gotten served and were eating; what could they do?

A couple from the larger group sat down with us and asked us about our tour, and they were the ones I told about our arrangement and its cost. They turned to others who’d been with them and announced the details, loudly enough so the whole room heard, which started a lot of bitching and complaining. I gathered they weren't very happy with the ship's tour to begin with, and this was the straw that broke the camel's back. We finished up and beat it out of there, but overheard later that one of the excursion staff came to check on something and ran into a real mess. I caught a cold on the trip, which forced me to bed the second day following in Tallinn, so by the time we reappeared we heard about the contretemps' but apparently no one recalled who started it, thankfully.

Because of what happened to us, I would probably not use AllTravelRussia if I were to go again, or if I did, I would be sure to get confirmation of every detail of the tour. They do have good reviews generally, and we were certainly helped by their visa department and liked the guides and drivers. Their weakness, I say now with full 20:20 hindsight, is that once the sales person who plans the tour, sells it to you and collects your money, he (or she) transfers the plan to their Russia office for implementation; there is no follow-up to make sure it gets done right. And that is where our problems arose; we paid for a custom tour but got a standard package with a few destinations switched, and no one checked them out, even to see when they were open the day we were scheduled to go. If you check every detail that’s important to you, it should be OK, but that’s a hell of a way to have to do business, in my opinion.

Thank you for the 20/20 hindsight observation on your Russian tour operator, and better priced than the ship's excursion cost.

Thanks very much for the feedback.

We had the same experience as you so far as price. We originally booked a Viking Cruise but, hearing some things about the river cruises that made us unhappy, looked into other options. T-A-R cost the same or less than a cruise and had us in hotels for 11 days. We opted for the private tour. They have three tour levels, based on hotels. We originally opted for the four star as it did not cost much more than the three star hotels. Finally we decided to throw it all in and upgraded to five star. In Moscow we will be at the newly opened Kempinsky which is two blocks from Red Square. In St. Petersburg it is the Grand Hotel Europe, one of the most vaunted luxury hotels in Russia. Location is important for us as the tours use up only part of the day so being in the center of everything for our independent touring is important. As with many other cities, the less you pay, the farther out of the center of town you are.

We have been working with our salesman in D.C. and he seems to get back to us with the changes we want. He recently returned from Russia so is up on everything. When I asked they said they paid the full TA commission if I wanted so I got my usual TA on board so he is watching our back and giving us that extra level of comfort. He also set up our air, which I know pays him little or nothing, and got us business class for much less than T-A-R wanted for economy, though it took working for a while with a consolidator. He's happy to get his 10 percent on this trip without having booked it. He also took care of the trip insurance. We've been doing a lot of research on the CC sister site Trip Advisor and will write a report there. We will, I guess, become a source of info for CC members after having spent 5 days in Moscow and 6 in SP.

• 4 months later...

scubacruiserx2

Anybody considering a day trip to Moscow from St. Petersburg on the Sapsan may want to look at our travelogue filled with pictures.

http://boards.cruisecritic.com/showthread.php?t=1927687

Very informative. Thanks dor sharing. Jeff

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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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Charli XCX, Troye Sivan bringing 'Sweat Tour' to Nashville's Bridgestone Arena

Pop sensations Charli XCX and Troye Sivan have announced a joint 2024 tour. The duo's Sweat North American Tour will stop in Nashville at Bridgestone Arena on Oct. 2.

The tour announcement comes on the heels of Charli XCX teasing a new collaboration with Sivan on Instagram . The rumors of a joint tour began during Coachella this year when fans spotted a billboard with both stars' names on it.

Sivan released his runaway album "Something to Give Each Other" in October with hits "Rush," "One of Your Girls" and "Got Me Started."

Charli XCX dropped her most recent album "Crash" in 2022, with songs "Crash," "Yuck" and "New Shapes." She's best known for tunes "Boom Clap" and her new 2024 single "Von Dutch," which will appear on her upcoming album "Brat." The new album drops on June 7.

The 21-date tour will begin in September in Detroit and will visit Toronto, New York, Atlanta, Los Angeles, Chicago and more.

Together, the two stars collaborated on the 2018 song "1999" and 2019 song "2099."

Perhaps another new single, "Sweat," will soon appear.

How do I get Nashville tickets to Charli XCX and Troye Sivan's tour?

Fans can sign up for presale tickets through April 25 at sweat-tour.com . Artist presale will begin on April 25 at 10 a.m. CST.

General onsale will begin on April 26 at 10 a.m. CST.