n be found. Scriabin's harmonic adventurous draws some similarities to the Impressionists, in method if not result. Scriabin showed interest in Debussy's music, frequently going to concerts that featured the French composer's works. Yet, he professed no love for Debussy. Scriabin "shared with Debussy a taste for voluptuous sonorities but could not tolerate what he called Debussy's 'passivity' and 'essentially receptive sensuality'." Nevertheless, it should also be noted that the only score that Scriabin owned upon his death was a copy of Debussy's La Mer. One can also sense the influence of the Viennese in Scriabin's works, especially in the last few opus numbers before he died. The preludes of Opus 74 sound almost completely atonal, and may be at first confused with Berg. Scriabin "was, at least in some ways, moving in the s
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