So the "Luce" may be really regarded as a materialized aura
of
the music of the "Prometheus". But if one translates this
into
everyday language it will turn evident that
Scriabin and the
theosophists are exploiting here that trite
color symbolism,
based upon elementary associations, such as the "simplicity"
of
red (warm and earth) color and the "complexity" of
blue (cold
sky) color, what is marked even in perception of
children and
primitive peoples.
And it is not surprising that adopting theosophic origin or,
so
to say "aural" genesis of the Promethean "Luce" , this fact
most
apparently may be considered as transient and chance for both the
history of Light-music and Scriabin himself. The matter is that
in post Promethean projects he renounced his idea of color music
dubbing at all and began to apply to ear-visual
counterpoint
including in the visible at the same time not only color but also
complex plastics of abstract forms. Just the idea of "ear-visual
polyphony" is the main contribution of
Scriabin to the
development of the idea of light-music. However
one can not
explain it simply by means of theosophy yet.
Moreover, here
Scriabin had to abolish himself as theosophist and began to
be
guided by his intuition of genius artist. This flair brought
him
to right track and took him to the summits
of the idea of
polyphony synthesis. To the summits which
still remain
inaccessible for many our contemporaries.