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Mark Forster

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Upcoming concerts (20) See all

Sick-Arena, Messe Freiburg

Hanns-Martin-Schleyer-Halle

Festhalle Frankfurt

Volkswagen Halle

Quarterback Immobilien Arena

Hallenstadion

Barclays Arena

Arena Nürnberger Versicherung

LANXESS arena

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Toller Tag mit super Künstlern. Marie Bother, Lea, Wincent Weiss, Max Giesinger. Krönender Abschluss war Mark Forster. Tolles Festival. Mark Försters Bühnen Show war wie immer toll. Tolle Stimmung und Klasse Atmosphäre. Ich war zum dritten mal dabei und komme wieder

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Mark Forster tour dates and tickets 2024-2025 near you

Want to see Mark Forster in concert? Find information on all of Mark Forster’s upcoming concerts, tour dates and ticket information for 2024-2025.

Mark Forster is not due to play near your location currently - but they are scheduled to play 20 concerts across 3 countries in 2024-2025. View all concerts.

Next 3 concerts:

• Freiburg, Germany
• Stuttgart, Germany
• Frankfurt, Germany

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Popularity ranking:

• Allan Rayman (5745)
• Mark Forster (5746)

Concerts played in 2024:

Touring history

Most played:

• Berlin (13)
• Munich (10)
• Rostock (9)
• Hamburg (9)
• Frankfurt (8)

Appears most with:

• Bauch Und Kopf (12)
• Fidi Steinbeck (5)
• Mark Foster (4)
• Auf Dem Weg... (4)

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• MARK FORSTER - ARENA TOUR 2024

Mit neuer Musik, legendären Hits und einer Bühne, die ihresgleichen sucht, geht Mark Forster 2024 auf seine größte Tour aller Zeiten.

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• Augsburg (1) ausgewählt
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Biografie - mark forster.

Spätestens seit seiner Hit-Single „Au Revoir“ zählt Mark Forster zu den beliebtesten deutschsprachigen Interpreten der Gegenwart. Zahlreiche Studioalben und Kollaborationen später glänzt der gebürtige Pfälzer mit Basecap, Bart und Wortwitz auch als sympathisches TV-Gesicht bei Erfolgs-Formaten wie z. B. „The Voice of Germany“ und „Sing meinen Song“.

Am 11. Januar 1983 erblickt Mark im Städtchen Winnweiler das Licht der Welt. Gemeinsam mit seiner jüngeren Schwester wächst er unweit von Kaiserslautern auf. Bis zu seinem Abitur am städtischen Gymnasium begleitet ihn die Musik als Hobby – nicht ahnend, dass sich der frühe Klavierunterricht später doppelt und dreifach auszahlen soll.

Mark Forsters erste Schritte in Richtung Musikkarriere

Kennen wir Pop-Star Mark Forster heute als musikalisches Multi-Talent mit TV-Affinität und Kino-Stimme, beweist er bereits zu Studienzeiten ein breitgefächertes Interesse. Nach vier Semestern wechselt er von den Rechtswissenschaften zur Betriebswirtschaftslehre und bleibt dem Fach bis zu seinem Abschluss an der Universität Mainz treu. Gleichzeitig wagt er erste Ausflüge in die Musiklandschaft und legt damit den Grundstein für seine Pop-Karriere.

Das Schreiben von TV-Jingles macht ihn zum Sidekick von Kurt Krömer. So stammt nicht nur die Titelmelodie zu „Krömer – Die internationale Show“ von Mark Forster: In der Rolle eines polnischen Pianisten begleitet er den Berliner Comedy-Star von 2007 bis 2010 auch bei seinen Auftritten in Deutschland. Nach einer Wanderung auf dem Jakobsweg reift der Entschluss, die eigene Musikkarriere voranzutreiben.

Erste Bühnenerfahrungen

Das in der Forsterstraße gelegene Studio ist zum zweiten Zuhause des mittlerweile in Berlin ansässigen Newcomers geworden. Ein Mitarbeiter der Plattenfirma führt Mark deshalb unter dem Pseudonym Mark Forster in seinem Kontaktverzeichnis. Mark Forster tritt ins Rampenlicht und sammelt als Frontman der Band Balboa erste Erfahrungen im Musik-Business.

Der Vertrag mit dem renommierten Label Four Music lässt nicht lange auf sich warten, doch bis zur Veröffentlichung des Debüt-Albums „Karton“ im Juni 2012 vergehen zwei weitere Jahre. Der Musiker nutzt die Zeit und begleitet Laith Al-Deen als Tour-Support. Auf die erste Single „Auf dem Weg“ folgt im November 2013 die erste Kollaboration: Für Sidos Song „Einer dieser Steine“ singt Mark Forster den Refrain ein und findet sich in den Top 10 der deutschen Musik-Charts wieder. Bis heute prägen Kollaborationen mit Künstlern unterschiedlicher Genres Mark Forsters vielseitiges Portfolio.

Mark Forster singt „Au Revoir“, doch bleibt

Im Jahr 2014 nimmt die Erfolgsgeschichte Fahrt auf. Für die Debüt-Single des zweiten Studioalbums „Bauch und Kopf“ kann Mark Forster auf die Unterstützung eines alten Bekannten zählen: Mit Sidos Rap-Part im Gepäck mausert sich „Au Revoir“ zur echten Pop-Hymne, die sich 65 Wochen in den deutschen Charts hält. Im Herbst 2015 kehrt der von Fans und Kritikern gleichermaßen gefeierte Popstar als Juror der Sat.1-Castingshow „The Voice Kids“ zu seinen TV-Wurzeln.

Ob als Sieger beim „Bundesvision Song Contest“, als Duo „Eff“ mit DJ Felix Jaehn oder als Interpret des offiziellen ZDF-Songs zur Fußball-Europameisterschaft in Frankreich: Mark Forster scheint das berufliche Glück förmlich gepachtet zu haben. Sein drittes Studioalbum „Tape“ beschert ihm weitere Top-Platzierungen, sodass er sich Ende 2016 als erfolgreichster deutschsprachiger Musiker in den deutschen Charts bezeichnen darf. Zudem stellt Mark Forster als Synchronstimme für den Animationsfilm „Trolls“ wieder einmal seine Vielseitigkeit unter Beweis.

Filmisch geht es weiter. Zu „DuckTales“ steuert Mark Forster den deutschen Titelsong bei. Während er mit der Single-Auskopplung „Kogong“ den nächsten Meilenstein setzt, flimmert er in diversen TV-Formaten über den Bildschirm. Auf „Sing meinen Song – Das Tauschkonzert“ folgt sein Einstand bei „The Voice of Germany“. Musiker-Kollege Andreas Bourani überlässt Mark Forster den heißbegehrten roten Sessel und die Tätigkeit als Gesangs-Coach.

Neben seiner Jurorentätigkeit bei „The Voice of Germany“ veröffentlicht Mark Forster 2018 sein viertes Studioalbum „Liebe“.

Am Puls der Zeit: Neue Kollaborationen und Elektro-Beats

Auch wenn Mark Forster vor allem für eingängige Pop-Songs und Sprechgesang in frischem Gewand bekannt ist, lotet er mit Begeisterung die Grenzen zu den verschiedensten musikalischen Genres aus. Für sein fünftes Studio-Album „Musketiere“ holt der frisch gebackene Vater die Sängerinnen LEA und Mathea mit ins Boot. Die Resultate sind so tanzbar, dass sie garantiert bei keiner zukünftigen Mark-Forster-Tour fehlen werden.

Zugleich setzt Mark Forster, mit Preisen wie Bambi und Echo geadelt, seine TV-Karriere fort. Ein weiterer Grund zum Feiern ist das 50-jährige Jubiläum der „Sendung mit der Maus“, zu dem Mark Forster einen eigenen Song beisteuert. Wer den Künstler live statt nur auf dem Bildschirm erleben möchte, sichert sich am besten rechtzeitig Tickets für Mark Forsters Shows.

Top-20-Hits von Mark Forster

• „Au Revoir“
• „Flash mich“
• „Bauch und Kopf“
• „Wir sind groß“
• „194 Länder“
• „Übermorgen“
• „Bist du okay“
• „Drei Uhr nachts“

Mark Forster Fan-Report: Bewertungen und Rezensionen

607 bewertungen (ø 4,57).

Es war echt so eine super Show! Die Stimmung in der Arena war so toll! Habe ich dort in der Form noch nicht so erlebt. So viele Effekte und tolle Live Performance. Also Flash mich gerne nochmal! Komme gern wieder!

Gut, aber Einiges optimierbar

13.4. Konzert in Kiel. Arena als Veranstaltungsort in Ordnung. Parkhaus ZOB war nah und gut. Die ersten 15 min alte Werbefilme verfremdet mit Mark Forster - Werbung/ Einblendungen. Hätte witzig sein können, wirkte aber unprofessionell gemacht und war Zeitverschwendung. Es folgte 15 min Vorsängerin. Nicht untalentiert, aber ruhigere Lieder heizen Stimmung nicht gerade auf. Falsche Songauswahl. Wahrscheinlich auch witzig gedacht wuselten 20 Mitarbeiter die ganze Zeit auf der Bühne mit Mikros und Besen auf der Bühne rum. Überflüssig. Dann 100 min Mark Foster. Akustik im Block E1 grenzwertig laut und technisch nicht gut ausgesteuert. Pyro, Konfetti, ... eindrucksvoll . Hintergrundvideos ( zB Größenvergleich von Sternen) wirkten beliebig und Sinn nicht nachvollziehbar. Die Lieder und die Show von Foster waren gut. Texte nur teilweise verständlich. Zusammenfassung: Musik und Auftritt MF lohnten sich, leider sehr laut und die ganze Drumherumshow mit Werbeverfremdung bis Videos seltsam und schwach gemacht. 3 von 5 Pkt.

Absoluter Hammer

Einfach unvergesslich, es hat sich wirklich gelohnt und das feeling war unbeschreiblich.

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Latest setlist, mark forster on march 28, 2024.

ÖVB-Arena, Bremen, Germany

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Tue 02.04.2024

Mark Forster

Arena tour 2024, olympic hall.

Please note: Only card payment is possible at the catering stands in the Olympic Hall! Further information  here.

He needed a break from time to time. At the end of 2022, Mark Forster decided to postpone his tour of Germany planned for the following year. But now his fans can look forward to the singer and songwriter finally returning to the stage. On 2 April 2024, Mark Forster will be coming to the Olympic Hall with many old hits and the new songs from his current successful album "Supervision".

Twelve years ago, the Palatinate native really took off. Mark Forster hit the charts for the first time with his debut album "Karton" and his first single "Auf dem Weg". He became known to an audience of millions in 2014 with his song "Au revoir", which he produced together with rapper Sido - a song that became a hit in Germany during the World Cup and which he recorded in two new versions during the tournament. "Au revoir, USA" before the match against the United States and "Au revoir, Maracanã" before the final in Rio against Argentina.

He landed his first number 1 hit in 2015 with "Stimme" and the music project Eff, a duet with Hamburg DJ Felix Jaehn. On his sixth studio album "Supervision", released in October 2023, he brought musicians and bands such as Cluseo, Sportfreunde Stiller and rapper Kontra K into the studio for some songs. The result: a colourful genre mix of pop and rock, rap and electro, all in a new and yet once again very familiar down-to-earth and self-deprecating Mark Forster style. At the end of March, Forster starts his long-awaited two-month indoor tour. He will be stopping off at the Olympic Hall on 2 April.

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The Mark Forster Arena Tour 2023 has been postponed to 2024. Tickets already purchased remain valid.

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MARK FORSTER - ARENA TOUR 2023

Friday, 26/04/2024 / 08:00 PM / Freiburg Trade Fair - SICK Arena

Rain or shine Wheelchair-accessible

MARK FORSTER ARENA TOUR 2023

With over 50 shows sold out almost without exception, 2019 was a terrific concert year for Mark Forster and his fans. The likeable musician thrilled with a polished show and many little surprises. After a forced break from Corona, he will finally be back on the road live from spring 2022 and finally follow up on the great success of the LIEBE Tour 2019. After numerous shows in the summer of this year, it will then go on a big hall tour in the spring of 2023. But what was originally planned as a continuation of the LIEBE Tour, now also puts his latest work in the spotlight: Forster's current studio album is called "MUSKETIERE" (VÖ 13.08.2021).

Distinguished by maximally personal songs and an unusually private look into his life - without providing fodder for gossip - his new, fifth studio album is a true story. His true story. In doing so, Forster remains true to his musical diversity and writes a declaration of love to music and life in 12 chapters.

Mark Forster has already been singing, composing and defining pop in German for a few moons as artistically sophisticated and unprecedentedly successful as no other. Quasi en passant he created a whole series of aphorisms of lasting value in the past decade. Example? "Au Revoir!" What was for a long time exclusively a Francophone farewell greeting has become a universally valid motto since the rise of the likeable man with beard, glasses and cap. That is pop.

Mark Forster is an artist of the small and the big, of the fleeting moment and the lasting memory of musical happiness. In order to finally share this happiness and the special moments with his audience again, he will come on a big tour through Germany, Luxembourg and Switzerland in spring 2023.

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MARK FORSTER – ARENA TOUR 2024

MARK FORSTER ARENA TOUR 2024

Finally live again!

With more than 50 almost exclusively sold out shows in 2019 and a brilliant open air summer in 2022, Mark Forster started again after the forced Corona break where he had left off before. The sympathetic musician inspired with a polished show and many little surprises. In spring 2024 he will finally be going on a big indoor tour again. But what was originally planned as a continuation of the LIEBE tour is now supposed to put his new music in the limelight.

This is pop.

Mark Forster has been singing, composing and defining pop in German for a few months in a way that is artistically demanding and unprecedentedly successful like no other. He created a whole series of aphorisms of lasting value over the past decade. Example? “AU Revoir”! What was long exclusively a francophone farewell has become a universal motto since the rise of the sympathetic with beard, glasses and cap. This is pop.

Mark Forster is an artist of the small and the big, of the ephemeral moment and the lasting memory of musical happiness.

In order to finally share this happiness and the special moments with his audience again, he will be touring through Germany, Luxembourg, Austria and Switzerland in spring 2024.

04.11.2022 20:00

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08.12.2022 20:00

25.03.2023 20:00

28.03.2023 20:00

30.03.2023 20:00

01.04.2023 20:00

16.04.2023 19:00

20.05.2023 19:30

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RIVERDANCE 2023 25.03.2023 20:00

THE LION KING – The music live in concert 28.03.2023 20:00

CANCELLED: David Hasselhoff – Party your Hasselhoff 30.03.2023 20:00

GAME OF THRONES – the concert show 01.04.2023 20:00

DISNEY 100: THE CONCERT 16.04.2023 19:00

POSTPONED TO 2023: Pentatonix The World Tour 20.05.2023 19:30

CAVALLUNA – Secret of eternity 27.05.2023 00:00

SIDO: PAUL – LIVE MIT DIR 2023 02.11.2023 20:00

Albrechtgasse 1 Graz +43 316 8088-400 [email protected]

Messeturm, Messeplatz 1 Graz +43 316 8088-0 [email protected]

Stadionplatz 1 Graz +43 316 8088-801 [email protected]

Zoisweg 15 Graz +43 316 8088-801 [email protected]

Zoisweg 15 Graz +43 316 8088-801 [email protected]

Weinzödl 1 Graz +43 316 8088-801 [email protected]

On the brink

“big shock”: mark forster’s tour bus involved in an accident.

Big shock after one of his concerts! On Sunday morning, a crash barrier caused the tour bus of Mark Forster (41) and his band to tip over.

Mark Forster is currently on the road a lot, playing one concert after another. After his performance in Kiel, however, there was a scary moment: one of his tour buses crashed. The singer confirmed this in an Instagram story.

Scary moment on the highway In his Instagram story, the singer spoke of a "big scare", but that everyone was fine. "Nobody hurt, nobody harmed," he wrote. He himself was not on board.

"We thank all the guardian angels and look forward to the next dates of this incredibly fulfilling tour," he added and asked his fans: "Drive carefully out there."

Bus was on the edge As reported by NDR, the tour bus tipped over against the crash barrier during a stop on the A24 highway in the direction of Berlin near Reinbek in Schleswig-Holstein and threatened to fall into the ditch. The accident happened at around 5 o'clock in the morning.

The fire department secured the bus and it was then towed away. Six people were reportedly on board, all members of Forster's band. The musicians were able to continue their journey in another bus.

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• June 23, 2022 Setlist

Mark Forster Setlist at SparkassenPark, Mönchengladbach, Germany

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Mark Forster Gig Timeline

• May 03 2022 Ringlokschuppen Bielefeld, Germany Add time Add time
• Jun 06 2022 KulturPur Festival 2022 Hilchenbach, Germany Add time Add time
• Jun 23 2022 SparkassenPark This Setlist Mönchengladbach, Germany Start time: 8:05 PM 8:05 PM
• Jun 25 2022 Wiley Sportpark Neu-Ulm, Germany Add time Add time
• Jul 01 2022 Marktplatz Neubrandenburg, Germany Add time Add time

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<div style="text-align: center;" class="setlistImage"><a href="https://www.setlist.fm/setlist/mark-forster/2022/sparkassenpark-monchengladbach-germany-5bb59744.html" title="Mark Forster Setlist SparkassenPark, Mönchengladbach, Germany 2022" target="_blank"><img src="https://www.setlist.fm/widgets/setlist-image-v1?id=5bb59744" alt="Mark Forster Setlist SparkassenPark, Mönchengladbach, Germany 2022" style="border: 0;" /></a> <div><a href="https://www.setlist.fm/edit?setlist=5bb59744&amp;step=song">Edit this setlist</a> | <a href="https://www.setlist.fm/setlists/mark-forster-73de8221.html">More Mark Forster setlists</a></div></div>

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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.

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Vladimir Bologov AKA the Wolfman of Russia.

Responses to "Vladimir Bologov AKA the Wolfman of Russia."

I am so happy that you are helping the wolves in Russia.. I don't understand though why people are so cruel to animals.. thank you for being an evolved human... - Mitchell

Hello Mr.Vladimir Bologov, I would like to ask you to list your pubblication on this blog it would be of great value to be able to study your work with wolves. Thank you Carlo (Italy)

Mr. Vladimir Bologov, You are an amazing beautiful being, thank you for helping the wolves : ) Laurie (Canada)

I already shared this on FB, but oh my God, 15,000 wolves are allowed to be killed per year? That's a massacre!! Thanks so much for sharing!!

thank you for helping the wolves, they are truely a gift from God!

I just saw a documentary on your wolf work on German TV! Brst of luck! Thank you!

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Moscow Nights

• Movie Soundtrack
• 5 years ago

About 2 years ago in early 2017, I got a call from Digital Domain, Inc. founder Scott Ross inviting my wife Erica and I   to a surprise birthday dinner for his wife Michelle at a restaurant in Hollywood. We all met in Rome 6 years ago through a mutual friend.

There was a table for us all, a gang of about 16 people and as with most of Scott’s productions, it was loaded with creative interesting people. Mark Chait and his partner Vasilis Paddis were two of those people. Mark, I learned, was a concert pianist and film composer based in China and also a representative of Steinway Pianos. By chance we were seated next to each other so got to know each other over dinner.

At one point, as we were singing happy birthday to Michelle, I thought, damn, I should run out to the car and grab a harp and play something for Michelle. So I did. I came back and played an impromptu blues jam for Michelle. At this point, Mark says to me, “Wow, I’m writing a score for a Shanghai, China TV/Movie production and I was thinking of using harmonica. Would you   be interested?” Of course, I gave my usual reply, “ Oh, hell yes! “

A few months later in May, Mark and Vasilis, emailed me a guide track and chart. It went something like this:

“Hi Jimmy Z!

Hope all is great in your world., it took a bit longer than expected but we finally got the green light to go ahead with mark’s re-arrangement of ‘moscow nights’ and we would love to have you play the harmonica as guided by mark below., i have attached the following three moscow nights guides and the side agreement for you, mp3 (a): this is the guide track – see attached, instructions: all new tracks with guide vocal line   key:   b minor transposes to c minor where jimmy comes in at bar 23., at bar 42 (approx. 2 min 58 secs from start) – jimmy plays lead melody line., please note:   this is his guide track – below is the tracks minus the vocal guide which can record over.   i want jimmy to play solo at bar 23 all the way out., mp3 (b): instrument tracks – see attached, instructions: instrument tracks without guide vocal for jimmy to play over, the track is blank until 43 seconds (where the solo vocals will be acapella) and then its just guitar and vocal until jimmy comes in at bar 23.   then he plays the solo melody at bar 42 at 2min 58secs in., moscow nights sheet music – see attached”.

I was informed Moscow Nights is an old Russian drinking song (what isn’t?) usually played very fast.

When I listened to the track, to be honest, I was a bit intimidated. It was this beautifully orchestrated piece with soaring female operatic vocals, delicate piano and accordion. As you can see in the email notes above it flows from B minor to C minor.

Not exactly the blues, rock, funk or country songs I usually record on. The harmonica would be very exposed. No room for error.

And as I was due to leave for Sweden in a week they needed it ASAP. I was tempted to defer and tell them maybe they would be better off with a chromatic harmonica player. Then as I started going through the chart with the guide track and a few minor harps I discovered that this was something maybe I could deliver on.

So I did. I played the melody as they instructed and they loved it but then they wanted me to improvise outside of the melody. So I did. I ended up improvising over the entire vamp.

And things turned out all right. Mark Chait raised my game.

Here is a rough mix mp3 of my harmonica melody and solo over the vamp because you won’t hear much in the final edits:

Here is the full piece:

To top it off, last week I got the word that a reviewer in the UK listed the soundtrack as  “one of the Best Scores of 2018!”

I’m honored to be working with an artist of Mark Chait’s stature and massive talent and very proud of my playing on “Moscow Nights.”

Purchase the soundtrack here .

Kevin Henry

Good story, Braddah Z. Keep these blog comin!

Thanks, Kev. I’m trying to get a few out there while I can. Z

bella della

so very beautiful Jimmy. thank you so much. putting it on my “fav” list! The only thing that’s wrong, is that it’s too short, I could listen to hours of this beautiful music score. Are you selling it in cd form? Would love to own it. xox

Thank you, Bella. I’m not selling it myself but I think you’ll find it available from info on the original article. I appreciate your support. Z

Peter Harman

That really sounds great Jimmy and I enjoyed your story behind it. I have followed your musical adventures, stories, videos etc. ever since I bought my first Lee Oskar harp 20+ years ago. You were one of the musicians featured on the little note inside the box. Best Regards Pete in England.

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