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Invisible input - inspiration

Background

 There are in my opinion an inordinately large number of activities – events, illnesses and actions – that contributed to Scriabin's ability to produce music. Not all the acitivities were operating throughout his life, but if we sum up the contributions over his life we find all the following. 

• Inherited genes - principally from his mother, who was an extremely gifted piano player and musician in her own right

• Suppressing memory – Scriabin made a concerted effort to ignore all conventional behaviour and teaching, he was amoral as well as single minded in his belief of his own revealed truths, preferring to make his own path. Scriabin avidly followed the work of Friedrich Nietzsche in this respect

• Unrequited love for both his first girlfriend and later his mistress, until he left his wife and went to live with his mistress

• LOVE - a reciprocal love for his aunty and the support he got from his friends

• Making love – his mistress and eventual common law wife Tatyana/Tatiana Fyodorovna Schloezer

• Grief - With Schloezer, he had children, one of whom including a son named Julian Scriabin, who looked like he was going to take after his father, composing several musical works at an early age. Julian drowned in the Dnieper River at Kiev in 1919 at the age of 11 years old

• Psychological trauma from the injured hand. His doctor said he would never recover, and he wrote his first large-scale masterpiece, his Piano Sonata No. 1 in F minor, as a "cry against God, against fate".

• Migraine – from which he badly suffered, all his life

• Being left-handed – the injury he suffered to his right hand forced him to use his left, he even wrote a piece for the left hand

• Belief in the spiritual world – he was a follower of mysticism, a supporter of theosophy and an avid follower of Bal'mont, Solovyov and Trubetskoy. During 1909–10 he lived in Brussels, becoming interested in Jean Delville's Theosophist philosophy and read the books of Helena Blavatsky

• Reducing threats/suppressing obligations – although beset by poverty at times, Scriabin was largely protected from everyday worries and obligations by two important patrons, who both supported him financially and emotionally – Mitrofan Belyayev and Margarita Morozova

• Enacting ritual and ceremony – of which the culmination would have been the Mysterium

I think it is important here for me to state I do not think he 'heard' songlines in the way that the real mystic composers did.  But his music is interesting as an expression of the emotion he felt and his yearning for something that transcended the physical.  Overall it expresses yearning for something to which he gained a tantalising glimpse via all the activities above.

But Scriabin never heard celestial music .... and you can tell  

The source of the experience

Concepts

Symbols

Science Items

Activities

Overloads

Suppressions

Commonsteps

References