THE FINAL BURST

Chapter:

CHAPTER 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

Ivanov regarded this effect of porïv—sudden elevation, transporting burst—as an explicitly religious gesture. He related it on the one hand to the Sursum corda, the “heart-lift” at the Elevation of the Latin Mass—on which, as both he and Scriabin knew very well, Liszt had composed one of his most harmonically adventurous pieces—and on the other, to Scriabin’s constant striving to transcend the human plane. The result of Scriabin’s final attempted breakthrough to the realiora, the superhuman superreal, may be glimpsed in the sketches he left at the time of his death for the Acte préalable, or “Preparatory Act,” that reflected something of the Mysterium, an unrealized (and unrealizable) project that would have been Scriabin’s ultimate musical and religious testament.

Citation (MLA):

Richard Taruskin. "Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-004008.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-004008.xml

Citation (Chicago):

Richard Taruskin. "Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-004008.xml