Music in the poetry of the Symbolists played a very important role as a metaphorical and, to an equal degree, rhythmic beginning. The Symbolists even had a so-called “musical group”, which included Balmont, Vyacheslav Ivanov and Baltrushaitis. At the same time, their like-minded people in the symbolism of Bryusov, White and Blok organized another group – “little music”. It is clear that this is their irony, delicacies. They all put music very high in their work, especially Balmont. Leonid Sabaneev wrote in his memoirs: “Balmont felt the music well and deeply, which is not very common, especially among the poets, he also felt the Scriabin music, I think that he guessed that he knew a certain, unquestionable kinship with his own poetry.”
He hummed and sang the sacred scarab. The soul could hear a clear ringing from there, Where the thunder ripples among the cloudy swells. Suddenly a powerful beetle became a sliding rookie, Melkalo white thin oar. The strings played with music by the seeing, And the heart awoke in it lightly.
Music for them served only as a background, not as a connecting link. The increased attention to the sound form of the verse, the extraordinary musicality of the poems of the symbolists of the “musical group” Balmont and Vyacheslav Ivanov gave Russian poetry a whole series of remarkable poems. In Balmont, in this connection, I would like to mention “Reeds”, “Chelny of longing”. In Vyacheslav Ivanov – “Pilot stars”, “Man” and many poems on the ancient theme. It is known that at the evening at Skryabin Vyacheslav Ivanov struck everyone with statements about music. Even Scriabin, who dreamed of erecting a musical temple on an uninhabited island in the Indian Ocean, listened to the poet with bated breath. In one of the poems Vyacheslav Ivanov exclaims: Oh, Music! In the anguish of the earthly separation, Alive sisters you bring to the wondrous dreams: And the secret rock bound silent sounds.