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i'm very curious about the relation of the music of Debussy and Scriabin. I've read that the only known comment made by Scriabin on Debussy is something like "He shouldn't have stolen from our Russian music". There were russian musicians that predates the music of the french composer?
And Debussy knew about Scriabin?
Noting it's been over a year since you posted this, have you found answers?

Not having read a Scriabin biography, and relying only on a few online sources, I came up empty on any Debussy/Scriabin relationship and quotes.

Wikipedia lists Tchaikovsky, Balakirev, Rimsky-Korsakov, Borodin, and Mussorgsky as Russian influences on Debussy's music. The first four being minor, and Mussorgsky more so for Boris Godunov influence on Pelleas et Melisande.

Scriabin visited and resided in Paris between 1898 and 1907, so I would think they knew of each other.
 

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i'm very curious about the relation of the music of Debussy and Scriabin. I've read that the only known comment made by Scriabin on Debussy is something like "He shouldn't have stolen from our Russian music". There were russian musicians that predates the music of the french composer?
And Debussy knew about Scriabin?
Noting it's been over a year since you posted this, have you found answers?

Not having read a Scriabin biography, and relying only on a few online sources, I came up empty on any Debussy/Scriabin relationship and quotes.

Wikipedia lists Tchaikovsky, Balakirev, Rimsky-Korsakov, Borodin, and Mussorgsky as Russian influences on Debussy's music. The first four being minor, and Mussorgsky more so for Boris Godunov influence on Pelleas et Melisande.

Scriabin visited and resided in Paris between 1898 and 1907, so I would think they knew of each other.
Scriabin and Debussy never met, but Scriabin attended a performance of La Mer conducted by Debussy. Scriabin also owned a copy of the score.
 

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I like the idea of the "Ecstasy Motive" (oscillating tritone). What is interesting is that it is often used as a common tritone between mystic scales (p. 15, Poeme-Nocturne--the Db and G mystic scales share the TT f-cb), and octotonic scales (p. 15, Op. 74 III---the set of octotonic scales starting on c, eb, f#, and a share the TT c-f#), so it can indeed build intensity by remaining constant as the scales change around it.
The 7th chords Db and G are also substitutes for each other. They do share a common triton, and a triton can always be resolved by contrary motion to either a 3rd or a 6th.

you can also always move a sequence through the cycle of minor 3rds, too. You come out where you begin, just like with diminished scales

also, since we can add the dominant before any chord, tritons can move up and down by a half step. Consider the cycle of 5ths progression A7 | D7 | G7 | C7

you could capture that harmonic motion with a simple triton (C#, G) -> (C, F#) -> (B ,F) -> (Bb,E)
 

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