marillion tour november 2023

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Downloads of Marillion live shows are available from the Racket Store. Brought to you direct from the live mixing desk, we usually offer the entire show from start to finish as it happened!

See below to view what's recently available or click here for our dedicated tour downloads section.

For our archives of Marillion shows and setlists please click here .

LIVE DOWNLOADS JAPAN 2018

LIVE DOWNLOADS NETHERLANDS 2018

4 Shows available from the All One In The Netherlands 2018 tour. Please note due to technical issues the Groningen show will not be made available for download.

LIVE DOWNLOADS UK 2018

8 Shows available from the All One In The UK 2018 tour. Please note due to technical issues the Liverpool and York shows will not be made available for download.

LIVE DOWNLOADS USA 2018

8 Shows available from the 2018 USA Tour. Please note due to technical issues the Grand Rapids show will not be made available for download.

MARILLION TOUR INFORMATION

As with any ticketed event, please ensure to successfully book tickets before making any travel plans. We regret that we are not able to provide travel advice or directions to any venues. Venue website are provided when available to assist with additional information.

Tour dates are only considered confirmed when they appear on this website - we cannot verify claims or announcements stated on other websites. While we are always working on more shows, we will not announce potential dates until we have confirmed them directly. Any available details will be posted here only when available.

LATEST NEWS
NEWS ARCHIVE
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SOLO PROJECTS
LATEST TOUR DATES

TOUR DOWNLOADS

SETLIST ARCHIVE

SUPPORT THE BAND
RACKET RECORDS
RACKET FAQ & HELP

WHY DON'T YOU PLAY HERE ?

CLICK HERE for more information on why we play where we play..

Downloads of Marillion live shows are available from the Racket Store. Brought to you direct from the live mixing desk, we usually offer the entire show from start to finish as it happened!

See below to view what's recently available or click here for our dedicated tour downloads section.

For our archives of Marillion shows and setlists please click here .

LIVE DOWNLOADS JAPAN 2018

LIVE DOWNLOADS NETHERLANDS 2018

4 Shows available from the All One In The Netherlands 2018 tour. Please note due to technical issues the Groningen show will not be made available for download.

LIVE DOWNLOADS UK 2018

8 Shows available from the All One In The UK 2018 tour. Please note due to technical issues the Liverpool and York shows will not be made available for download.

LIVE DOWNLOADS USA 2018

8 Shows available from the 2018 USA Tour. Please note due to technical issues the Grand Rapids show will not be made available for download.

MARILLION TOUR INFORMATION

Marillion announce A Tour Before It's Christmas 2023

Marillion's festive mini tour opens in France and closes with London's A Racket In The Roundhouse show

Is it too early to be thinking about the winter holidays? Asking for a Marillion ! They've just announced the return of their festive shows in 2023 with A Tour Before It's Christmas. The British band will be performing at venues in Europe and England across 10 dates and say they "will be playing an assortment of our favourite tunes, once again."

The mini-tour culminates in a performance at London's prestigious Roundhouse, which is playfully going under the name of A Racket In The Roundhouse. Tickets for this show, and many others, go on sale at 10am local time on June 16, with pre-sales available the day before. For more information, visit the band's official website .

Marillion have a long tradition of performing festival shows and at Christmas 2022 even treated their subscribers to the limited-edition free live double album, Yule Be Glad , which contained a recording of their Light At The End of The Tunnel show from the Hammersmith Eventim Apollo in November 2021.

Meanwhile, the band are wrapping up the last of their Marillion Weekend dates with a show at the Berlin Tempodrom in Germany on June 23. H Natural solo shows from vocalist Steve Hogarth are scheduled to take place over the summer and into the autumn, and guitarist Steve Rothery will be back on the road in September and early October.

A Tour Before It's Christmas 2023

Nov 12 : Strasbourg La Laiterie, FR Nov 13: Paris Trianon, FR Nov 15: Utrecht TivoliVredenburg, NL Nov 16: Utrecht TivoliVredenburg, NL Nov 18: Leipzig Haus Auensee, GER Nov 19: Koln Palladium, GER Nov 21: Antwerp De Roma, BE Nov 22: Luxembourg Philharmonie, LU Nov 24: Wolverhampton The Halls, UK Nov 26: London The Roundhouse, UK

Prog Newsletter

Contributing to Prog since the very first issue, writer and broadcaster Natasha Scharf was the magazine’s News Editor before she took up her current role of Deputy Editor, and has interviewed some of the best-known acts in the progressive music world from ELP, Yes and Marillion to Nightwish, Dream Theater and TesseracT. Starting young, she set up her first music fanzine in the late 80s and became a regular contributor to local newspapers and magazines over the next decade. The 00s would see her running the dark music magazine, Meltdown, as well as contributing to Metal Hammer, Classic Rock, Terrorizer and Artrocker. Author of music subculture books The Art Of Gothic and Worldwide Gothic, she’s since written album sleeve notes for Cherry Red, and also co-wrote Tarja Turunen’s memoirs, Singing In My Blood. Beyond the written word, Natasha has spent several decades as a club DJ, spinning tunes at aftershow parties for Metallica, Motörhead and Nine Inch Nails. She’s currently the only member of the Prog team to have appeared on the magazine’s cover.

Midas Fall share live video for In The Morning We'll Be Someone Else

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"All our shows have become a celebration for us and the fans." Kerbdog announce special tour to mark the 30th anniversary of their self-titled debut album

Marillion Rock The Roundhouse In A Night Of Magic

The roundhouse, london – 26 november 2023.

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LATEST NEWS
NEWS ARCHIVE
PHOTO GALLERIES
NEWSLETTERS
DISCOGRAPHY
SOLO PROJECTS
LATEST TOUR DATES

TOUR DOWNLOADS

SETLIST ARCHIVE

SUPPORT THE BAND
RACKET RECORDS
RACKET FAQ & HELP

WHY DON'T YOU PLAY HERE ?

CLICK HERE for more information on why we play where we play..

Downloads of Marillion live shows are available from the Racket Store. Brought to you direct from the live mixing desk, we usually offer the entire show from start to finish as it happened!

See below to view what's recently available or click here for our dedicated tour downloads section.

For our archives of Marillion shows and setlists please click here .

LIVE DOWNLOADS JAPAN 2018

LIVE DOWNLOADS NETHERLANDS 2018

4 Shows available from the All One In The Netherlands 2018 tour. Please note due to technical issues the Groningen show will not be made available for download.

LIVE DOWNLOADS UK 2018

8 Shows available from the All One In The UK 2018 tour. Please note due to technical issues the Liverpool and York shows will not be made available for download.

LIVE DOWNLOADS USA 2018

8 Shows available from the 2018 USA Tour. Please note due to technical issues the Grand Rapids show will not be made available for download.

MARILLION TOUR INFORMATION

LATEST NEWS
NEWS ARCHIVE
PHOTO GALLERIES
NEWSLETTERS
DISCOGRAPHY
SOLO PROJECTS
LATEST TOUR DATES

TOUR DOWNLOADS

SETLIST ARCHIVE

SUPPORT THE BAND
RACKET RECORDS
RACKET FAQ & HELP

WHY DON'T YOU PLAY HERE ?

CLICK HERE for more information on why we play where we play..

Downloads of Marillion live shows are available from the Racket Store. Brought to you direct from the live mixing desk, we usually offer the entire show from start to finish as it happened!

See below to view what's recently available or click here for our dedicated tour downloads section.

For our archives of Marillion shows and setlists please click here .

LIVE DOWNLOADS JAPAN 2018

LIVE DOWNLOADS NETHERLANDS 2018

4 Shows available from the All One In The Netherlands 2018 tour. Please note due to technical issues the Groningen show will not be made available for download.

LIVE DOWNLOADS UK 2018

8 Shows available from the All One In The UK 2018 tour. Please note due to technical issues the Liverpool and York shows will not be made available for download.

LIVE DOWNLOADS USA 2018

8 Shows available from the 2018 USA Tour. Please note due to technical issues the Grand Rapids show will not be made available for download.

MARILLION TOUR INFORMATION

LATEST NEWS
NEWS ARCHIVE
PHOTO GALLERIES
NEWSLETTERS
DISCOGRAPHY
SOLO PROJECTS
LATEST TOUR DATES
TOUR DOWNLOADS
SETLIST ARCHIVE
SUPPORT THE BAND
RACKET RECORDS
RACKET FAQ & HELP

AN HOUR BEFORE IT'S DARK LIVE IN PORT ZELANDE 2023 NOW AVAILABLE FOR PRE-ORDER CLICK HERE FOR BLU-RAY CLICK HERE FOR DVD CLICK HERE FOR CD

MARILLION WEEKENDS 2023 REMAINING MERCHANDISE NOW ON SALE CLICK HERE FOR ALL ITEMS CLICK HERE FOR CLOTHING CLICK HERE FOR OTHER MERCHANDISE

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Marillion are a progressive rock band hailing from Aylesbury, Buckinghamshire, UK, who rose to prominence along with several other bands as part of the 80s neo-prog revival.

Taking their name from a J.R.R. Tolkien novel, the band came together in 1979, but it took them until 1984 to form their core lineup, featuring Steve Rothery (lead guitar), Pete Trewavas (bass), Mark Kelly (Keyboards) and Ian Mosley (drums), having had their frontman, Fish (Derek Dick) leave the band in 1988, being replaced with Steve Hogarth.

Their debut album, "Script for a Jester's Tear" was released in 1983, gaining a loyal fan base through their album and commitment to touring. In 1984, their second, "Fugazi" was unleashed, featuring a more straight-up hard rock approach, with singles "Assassin" and "Punch and Judy" becoming hits in the UK. But it was with their third record, the more progressive concept album Misplaced Childhood" (1985) that Marillion had their biggest success, with the single "Kayleigh" reaching number two in the UK charts and doing well in the US.

After vocalist Fish left the band, Marillion took a stylistic change, moving to a more accessible, mainstream rock sound, although still incorporating progressive elements, such as in "Brave," (1992) which whilst being straightforward rock, it incorporated a dark and complex symphonic sound reminiscent of classic prog acts.

The band moved to a softer sound in 1998, incorporating influences from The Beatles, U2 and Radiohead, especially the kraut-rock prog of Radiohead's "OK Computer." "Radiation" (1998), "Anoraknophobia" (2001) and "Marbles" (2004) all followed in this same vein, continuing the band's popularity into the new millennium. Marillion continued to be progressive and ambitious in their sound, culminating in their 2012 record, "Sounds That Can't Be Made," a politically motivated album that featured a 17-minute epic titled "Gaza."

Marillion were one of the first bands to use crowd-funding in order to support their activities, setting up a fund in order to raise money to support them upon a US tour in 1997, following their record label's refusal to offer adequate money for the tour. They have had a hugely successful career, selling over 15 million albums worldwide.

Live reviews

Awesome. As a long time fan of the Fish Era of the band (in fact, the last time I saw Marillion was at the Glenn Miller Ballroom in Boulder, Colorado in 1987, and my hero Fish was still the vocalist), finally after nearly 30 years I am able to give Steve Hogarth his due props. What sealed the deal for me was finally getting the chance to see him fronting the band last night, a first for me. He sounded better live than on their studio recordings, and he had a great stage presence and aura about him. I was very impressed. As any sensible fan knows, Marillion has been a very different band for a very long time since Fish left and H joined. Their work as a band should be appreciated for what they were then and are now. If you are a fan you probably lean towardd one era over the other, as I definitely do, but sides dont have to be taken and you can love both eras. I have alot of catching up to do with their back catalog since H joined now that I haveca new appreciation for his talent amd place in the Marillion world. I will love and respect Fish forever and will never forget that show back in '87. That was definitely a different time for all. By the way, 'Sugar Mice' sounded great last night. Thanks to the band for being able to still play those old tracks without any ill feelings.

So anyway, great show, the whole band was great, the venue and staff were great, and I have to add that even the process of buying a tour shirt was great, thanks to the friend of the band manning the merch booth. She was so awesome and so nice and she really helped me out by being accomodating when what I wanted was not available in my size anymore. Just wanted to say that as I'm sure she does not get the thanks and appreciation that she should get as a very important part of the touring entourage.

P.S. When Marillion played in Boulder in 1987, the campus radio station (I think it was them) simulcast the entire show live. My friend who did not go to the show recorded it for me since obviously i was not at home to work my cassette recorder. I re-lived the show through this recording for many years, but when I thought about it about a year ago I searched my cluttered house for it but could not find it anywhere. I do have my personal cassette collection all stored in three dresser drawers, and it was not there. So I wanted to take this opportunity of reaching out to Colorado Marillion fans since they just played in Colorado again to ask if anyone might have a recording of the 1987 Boulder CO show simulcast. If so I would love to hear from you and somehow get a copy as long as the band is okay with it. I guess the best way is to email me at the addrress i provided below if im allowed to list it here. If not, i guess just comment here like I did and if so I will contact people running the website and see what the best course of action would be. Its a very long shot but hey, it was an amazing recording and i can't think of any other way to replace it. Thanks! [email protected]

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A lot of people still regard Marillion as a band that had a few hits in the 80s with a singer called Fish. Well, since those commercially successful days, Marillion have ploughed a very different field with a very different singer. Steve Hogarth has been with the band since 1989 and has steadily led the band away from their Genesis inspired roots into a more diverse and sustainable path.

One of Marillion's attributes is the special relationship they have with their fans and consequently their live shows retain an intimate feel despite several thousand people being in attendance. As a result, you can generally see people singing every word as the audience lap up every song from their now huge back catalogue. Behind the theatrical Hogarth there's four splendid musicians quietly going about their business and brimming with the confidence that comes from having played together as a unit for 30 years. From Steve Rothery's distinctive and soaring guitar sound through to Mark Kelly's atmospheric keyboard flourishes, this is band still at the top of their game, despite essentially disappearing from the eyes of the general public over a quarter of a century ago.

Marilion's tenacity coupled with their huge ability makes for a passionate and inclusive live experience and I heartily recommend them to lovers of quality, well constructed music that touches the emotions both in a live and studio setting.

I've been waiting for this gig for 35 years and the anticipation amongst the fans was palpable; fans who had came from all corners of the world to see the best band in the world.

Looking down from up with the pigeons in the gallery I could see that almost every seat was taken and it was a wondrous sight to behold.

The moment the band hit the stage with the opening guitar lines from The Long Shadowed Sun I knew we were going to be just fine and the love from the audience to the band grew with every note they played. The whole of F E A R passed in what seemed an instant and then same the break.

The second half ushered the all girl orchestra, augmented by flute and French horn for a meander through classics from the back catalogue. The Space, Afraid of Sunlight and then in to Go! when the lights went off and 5,000 people waived their finger lights in the air. A truly magnificent sight and I for one shed a tear.

The band were fantastic and h's voice was in brilliant shape, especially on The Space which is so hard to sing.

Special mention to the extra musicians who added another dimension to the songs and the lighting guys who did a fantastic job too.

The fans were, as ever, utterly brilliant and I'm proud to be a member of the great 'Marillion family'.

The opening night gremlins were apparent, with Mark Kelly being hit hardest, but the gig flowed smoothly and the sound was excellent.

An unusual set list (H said as much) saw a few old favourite of the H era aired, the best of these a stunning Seasons End, alongside half of the latest album.

The light show and projection screen was entertaining but it was the band interaction that captivated. In contrast to many other groups, it's clear by the smiles, jokes and story telling, just how much these guys love performing. When, in the middle of 'This Strange Engine', the keyboards didn't arrive as planned, H kept ringing his forlorn little bell while Mark Kelly scuttled around trying to get things working and the rest of the band had bemused little grins. No tantrums, just good humour.

The 2 and a bit hours flew by and as the last guitar notes of set closer 'Neverland' faded I was left in awe once more at the emotional journey these 5 people take me on every time I see them live.

The crowd were respectful but lacking a little enthusiasm (often the way with seated concerts).

As always, a great evening. See them while you can.

Fantastic show as always. The passion that H and the whole band put into every song is truly enlightening....

The Vic Theater however needs improvements. Almost slipped going down the narrow winding staircase to the men's restroom. Steel stairs?? Oh, $5 for a coke???

I stood behind the crew that ran the lights and sound board and the video showing in that space was nothing like what was appearing on the "screen" behind the band. You basically couldn't even see what was behind the band most of the time which is a shame, because if would had made the show much better if that's even possible.

Also, even if many of the concert attendees aren't baseball fans, a TV or two showing the World Series would had been a nice perk. Ultimately, everyone would be watching the band, but c'mon, the Cubs are playing in the World Series and you don't have a single TV??? How about even showing the game on the "screen" before the concert and between John Wesley and Marillion?

Hopefully when Marillion returns to Chicsgo, they'll go back to the Park West.

Loved the concert, hated the venue.

It's been a while since I last saw Marillion and as they soared through the openong of El Dorado I realised what a big big mistake that was.

Cruising apparently effortlessly between complex arrangements and rhythms they deftly create a swirling sonic landscape in which the listener is lost, transcended to a place of beauty and light. Lyrics and themes witj passion and intensity fill out the canvas and the production adds to the atmosphere with artful and clever use of lighting and a moving kaleidoscope of imagery spread out behind the band.

The set was heavy on the new album (Fuck Everyone And Run) but that's no bad thing as it is a real tour de force and has plenty of scope for all members to flex their musical muscles yet at the same time deliver a harmonious almost symphonic whole. Interspersed between the three sides of FEAR that the band played were highlights from a catalogue stretching back over 35 years.

This is a band very much for today and with something to say. And they are absolutely killer live. Go see them. Now.

Marillion are known as pioneers of the British progressive rock scene and remain one of the most successful exports selling over 15 million albums globally. Progressive is a genre born from technical abilities and instrumental prowess so therefore the live show is a celebration of the musicianship of the five member onstage this evening.

Fans old and new gather as one to pay homage to one of the UK's most prolific rock acts. It really does not make any difference when you discovered them, it is all the enjoyment of the music and the celebration of the albums. They take music from across their back catalogue tonight as opposed to simply relying on the popularity of 'Misplaced Childhood'. The fans remain enthusiastic to everything played and cheer on intently during huge instrumentals which resonate around the venue. They say their thank yous and close on 'King' before returning for a well selected encore of 'The Release' and 'Cannibal Surf Babe'.

WOW WHAT A SPECTACULAR EXCPERIENCE. MARILLION LIVE..........KNOW I HAVE SEEN THEM PERFORM LIVE THERE IS NOT ENOUGH PAPER TO DESCRIBE HOW MESMERISING AND TOTALLY COMITTED THIS BAND IS TO TAKE THE AUDIENCE TO ANOTHER LEVEL.EVERY BAND MEMBER ENJOYED GIVING A TRULEY WONDERFUL ENTERTAINING NONE STOP PERFORMANCE.

FOR ME WATCHING 'H' EXCPRESS HIS MUSICAL TALENT WAS SIMPLEY MAGICAL,HIS ENERGY, HIS VOICE,HIS SPIRIT CHARGED OUT OF EVERY OUNCE OF THIS MAN.

'H' IS FOR HERO.

CAN NOT PRAISE THIS BAND ENOUGH,IF YOU LOVE THERE MUSIC..WAIT TILL YOU SEE AND HEAR THEM LIVE!!! XXXXXXX

Fantastic band ..perfect show ... unique atmosphere .Great music..Big thanks for Marillion...Thanks.Thanks..Thanks....Thanks...Thanks..Thanks Thanks thanks thanks..thanks..ThanksThanksThankshttps://youtu.be/WwH0zuBJJ6k. https://youtu.be/WwH0zuBJJ6k. Fantastic band ..perfect show ... unique atmosphere .Great music..Big thanks for Marillion...Thanks.Thanks..Thanks....Thanks...Thanks..Thanks Thanks thanks thanks..thanks..ThanksThanksThankshttps://youtu.be/WwH0zuBJJ6k. https://youtu.be/WwH0zuBJJ6k

It's been 35 years since i saw the band for the first time and one thing is certain time is on their side.

They're getting better and better. The show of yesterday night was even better than the one they gave one year ago in Paris.

Yeasterday night they invite on stage some classical musicians to sustain their music.

Lightshow and soundstage were awesome.

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November 12, 2023 Setlist

Marillion Setlist at La Laiterie, Strasbourg, France

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Tour: A Tour Before It's Christmas Tour statistics Add setlist

Song played from tape Zeroes ( David Bowie song) Play Video
The Invisible Man Play Video
Easter Play Video
Reprogram the Gene (I) Invincible Play Video
Reprogram the Gene (II) Trouble-Free Life Play Video
Reprogram the Gene (III) A Cure for Us? Play Video
Lucky Man ( First performance since 2013 ) Play Video
Beyond You ( First time since December 15th, 2019 ) Play Video
Sounds That Can't Be Made Play Video
Living in F E A R ( First time since December 1st, 2018 ) Play Video
Quartz Play Video
The Crow and the Nightingale Play Video
Care (I) Maintenance Drugs Play Video
Care (II) An Hour Before It's Dark Play Video
Care (III) Every Cell Play Video
Care (IV) Angels on Earth Play Video
Splintering Heart Play Video
Neverland Play Video
Hotel Hobbies ( First performance since 2017 ) Play Video
Slàinte Mhath ( First time since June 2nd 2019 ) Play Video
King Play Video

Edits and Comments

11 activities (last edit by OneinaMarillion , 18 Mar 2024, 15:49 Etc/UTC )

Songs on Albums

Care (I) Maintenance Drugs
Care (II) An Hour Before It's Dark
Care (III) Every Cell
Care (IV) Angels on Earth
Reprogram the Gene (I) Invincible
Reprogram the Gene (II) Trouble-Free Life
Reprogram the Gene (III) A Cure for Us?
The Crow and the Nightingale
Hotel Hobbies
Slàinte Mhath
The Invisible Man
Sounds That Can't Be Made
Living in F E A R
Splintering Heart

Complete Album stats

La Laiterie

iamthemorning Add time Add time
Marillion This Setlist Start time: 8:00 PM 8:00 PM

Marillion Gig Timeline

Jun 23 2023 Marillion Weekend Convention DE 2023 Berlin, Germany Start time: 8:40 PM 8:40 PM
Jun 24 2023 Marillion Weekend Convention DE 2023 Berlin, Germany Start time: 8:35 PM 8:35 PM
Nov 12 2023 La Laiterie This Setlist Strasbourg, France Start time: 8:00 PM 8:00 PM
Nov 13 2023 Le Trianon Paris, France Start time: 8:20 PM 8:20 PM
Nov 15 2023 TivoliVredenburg Grote Zaal Utrecht, Netherlands Start time: 9:00 PM 9:00 PM

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Moscow Sky Lights Up With Strange Glow After Explosion at Electrical Substation: Reports

N ew footage has emerged showing bright flashes lighting up the night sky in southern Moscow during the early morning hours of November 22.

Knewz.com has learned that there was an explosion at an electrical substation on the outskirts of Russia's capital city followed by an alleged power outage in "several" homes.

Video snippets, shared on Russian news channels like ASTRA , captured a series of flashes that caused the sky to change color. Smoke could also be seen rising from a building.

Corroborating the video, several Russian Telegram accounts reported an explosion near the south of Moscow and a subsequent fire at the Lyublino electrical substation, southeast of central Moscow, per Newsweek .

The local authorities from the area have since confirmed that an explosion occurred in the village of Molokovo, but they reassured the public that all vital facilities were operating as normal.

Russian outlet MSK1.ru reported the blaze at the substation and noted “several” power outages.

The town of Lytkarino, located to the southeast of Moscow, was one of the affected areas, as reported by the independent outlet, Meduza .

Additional power failures were reported in the southern Domodedovo section of the city. However, electricity was later restored to these areas.

One local resident speculated that a drone may have been responsible for the explosion, but additional sources are yet to support this theory.

Newsweek reported that messages on the ASTRA Telegram account run by independent Russian journalists showed residents near the substation panicking. One concerned Russian called it a "nightmare."

The incident follows an attack by Russia on a power station in southwestern Ukraine that left 2,000 people without electricity .

Knewz.com reported previously:

“ Russian forces launched a total of 38 Iranian-made Shahed-136/131 drones during the later hours of November 17 and 18.

The Ukrainian Air Force Command reported that 29 of these drones were shot down [...].

One civilian was injured as a result of the attack that targeted energy infrastructure in the southwestern Odesa Oblast.”

The assault came after repeated warnings by Ukraine’s President Volodymyr Zelensky that Russia would try to cripple its power grid as winter approaches.

Ukraine's leader warned that if Russia resorted to attacking its power utilities, it would respond in kind.

Ukraine has conducted numerous long-range aerial drone strikes on Moscow since May 2023.

Most recently on November 20, it was reported that one such incursion was intercepted close to the city, per Kyiv Post .

Moscow’s Mayor Sergei Sobyanin confirmed this and elaborated that the region's air defense systems intercepted the unmanned craft over the city of Elektrostal to the east of Moscow, as well as another over the Bogorodsky district, northeast of central Moscow.

The details of the recently surfaced video footage have yet to be independently verified.

The Moscow skyline lit up on November 22 causing panic. By: Meduza

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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.