These experiments, just referred to, have been particularly no-
table on the part of two composers of the neo-Russian group,
Stravinsky and Scryabin. Stravinsky,[336] in his brilliant pan-
tomime ballets,L’Oiseau du Feu,Petroushka, andLe Sacre du
Printemps, has proved incontestably that he is a genius—it be-
ing of the essence of genius to create something absolutely new.
These works, in their expressive melody, harmonic originality
and picturesque orchestration, have widened the bounds of mu-
sical characterization. Scryabin[337] (1871-1915) is noted for his
esoteric harmonic scheme, shown in a series of pianoforte pre-
ludes, sonatas and, above all, in his orchestral works, theDivine
Poem, thePoem of EcstacyandPrometheusorPoem of Fire.
The effect of Scryabin’s harmonies is one of great power, and,
as previously said of Debussy in his earlier days, his imagina-
tion has undoubtedly heard sounds hitherto unrealized. The
sensational style ofPrometheusis augmented by the use of a
color machine which flashes upon a screen hues supposed to
supplement the various moods of the music. How many of these
experiments will be incorporated into the accepted idiom of mu-
sic, time alone will tell; but they prove conclusively that modern
music is thoroughly awake and is proving true to that spirit of
freedom which is the breath of its being.
[Footnote 336: For a detailed account of his life and works con-
sult the essay inContemporary Russian Composersby Montagu-
Nathan and Vol. III ofThe Art of Music.]
[Footnote 337: For a comprehensive estimate of his style and
achievements the following works will prove useful: theBiogra-
phy, by Eaglefield Hull; the Essay, by Montagu-Nathan in the
volume referred to, and an article by W.H. Hadow in the Musical
Quarterly for Jan. 1915.]
Music is, furthermore, not only a fine art in which have worked
and are working some of the best intellects of our race, but is
inevitably becoming a universal language. We see this clearly
in the rapid growth of music among peoples and nations which,
comparatively a short time ago, were thought to be quite out-
side the pale of modern artistic development. No longer is mu-
sic confined exclusively to the Italians, French and Germans.
A national spokesman for the Finns is the gifted Sibelius, the
composer of five symphonies, several Symphonic poems, numer-
ous songs and pianoforte pieces; his second Symphony in E mi-
nor being a work of haunting beauty, and the Fourth noted for