ABSTRACT
Scriabin was a mystic, a product of the twilight culture of the fin de siècle, when solipsism and pantheism could cohabit in the same mind without a sense of selfcontradiction. In Scriabin’s philosophy, music was not merely an art of pleasurable sounds; his aims transcended esthetics. He dreamed of an ultimate consummation, a mysterium, in which all arts, all sciences and all religions would be brought together in a hyperHegelian synthesis by a volitional act, with Scriabin himself as demiurge, mystagogue and supreme artificer. Scriabin had sketched out the text of this mystery play, but he died too soon to make progress on the actual composition of the score.
