O. Scriabin's Sonatas as a Repertory Achievement of Odesa Pianists

The article analyses O. Scriabin’s work and the influence of the Odesa salon art in the late nineteenth century on the formation of high-emotional perception by the Odesa public of a pianist and composer; and his creation of musical abstractions of the mystery oriented images-theme in the last three Sonatas. Therefore, the research of the genius of Scriabin is definitely relevant for a better understanding of his importance for the world musical public and his influence on Ukraine. The purpose of the research is to reveal the influence of the Odesa musical and cultural environment on the work of O. Scriabin; and adopt his legacy in Odesa by the example of pianistic part and the creative search for the Mystery, based on which the last three Sonatas were created by the author of “Prometheus”. The methodology of the research is based on the emotional approach of style comparative analysis, and historical and hermeneutical analysis of the musical method. Start with, the type of musicological thought and the degree of integration of the O. Scriabin’s works into the humanitarian and cultural context and the general orientation of the musicological analysis determine methodological specificity. Conclusions. It was proved that the Odesa piano school was a part of premiere success of the piano recital in 1898, which gave the piety to Scriabin’s pianism and compositions in the salon art. In Scriabin’s compositions, the ecstatic lyrics discourages theatrical meaningful antithetic in favour of the monologue overall joy. Overcoming drama or tragedy of being, the embodiment of which is based on Scriabin’s sonority. The mystical generalization of Scriabin’s sonority is opposed to the Kupka and Rachmaninoff’s naturalism, but has common origins with the Orthodox instrumentalism of church bells, which is inseparable from the abstraction of dance.