Scriabin's 'Fourth Piano Sonata' - A Turning Point in His Compositional Style

Scriabin's "Fourth Piano Sonata": A turning point in his
compositional style.
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SCRIABIN'S FOURTH PIANO SONATA:

A TURNING POINT IN HIS COMPOSITIONAL STYLE
by
June Chow
Copyright June Chow 1995
A Document Submitted to the Faculty of the

SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements

For the Degree of
DOCTOR OF MUSICAL ARTS
WITH A MAJOR IN PERFORMANCE
In the Graduate College

THE UNIVERSITY OF ARIZONA
1995
UMI Number: 9534655
Copyright 1995 by
Chow, June
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--------------------------------------------------------------A Turning Point in His Compositional Style
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ACKNOWLEDGEMENTS
This document would not have been possible without the support and
help of the following people: Professor Nicholas Zumbro, my major
advisor, gave me constant guidance and invaluable advice throughout my
doctoral studies and during this project; Dr. Paula Fan, who provided
indispensable comments and critical support; Dr. Timothy Kolosick, who
guided and clarified the project at many points; Dr. Billie R. Erlings, who
provided stimulation and encouragement; and finally, Lynaea Search, who
made positive suggestions and helped with editing.
TABLE OF CONTENTS
LIST OF ILLUSTRATION ................................................................ 6
ABSTRACT ...................................................................................... 8
INTRODUCTION .......................................................................... 9
CHAPTER 1 ................................................................................. 21
Piano Sonata No.3 ............................................................. 21
CHAPTER 2 ................................................................................. 29
Piano Sonata No.4 ............................................................. 29
CHAPTER 3 ................................................................................. 52
Piano Sonata No.7 ............................................................. 52
CHAPTER 4 ................................................................................. 71
Comparison of Piano Sonatas Nos. 3, 4 and 7.................. 71
SUMMARY AND CONCLUSIONS ............................................. 78
REFERENCES ............................................................................. 81
LIST OF ILLUSTRATIONS
Figure l.la, Piano Sonata No.3, Op. 23, (Ist mvt) mm. 1-2 ................ 22
Figure l.lb, Piano Sonata No.3, Op. 23, (Ist mvt) mm. 11-12 ............ 23
Figure 1.2, Piano Sonata No.3, Op. 23, (Ist mvt) mm. 26-28 .............. 23
Figure 1.3, Piano Sonata No.3, Op. 23, (Ist myt) mm. 35-38 .............. 24
Figure 1.6, Piano Sonata No.3, Op. 23, (Ist myt) mm. 5-8 ................. 26
Figure 2.1, Piano Sonata No.4, Op. 30, (Ist myt) mm. 1-8 ................... 31
Figure 2.2, Piano Sonata No.4, Op. 30, (Ist mvt) mm. 18-21 ............... 32
Figure 2.3, Piano Sonata No.4, Op. 30, (Ist myt) mm. 26-29 .............. .32
Figure 2.4a, Piano Sonata No.4, Op. 30, (Ist mvt) mm. 35-38 ............. .33
Figure 2.4b, Piano Sonata No.4, Op. 30, (Ist mvt) mm. 43-46 .............. 33
Figure 2.5, Piano Sonata No.4, Op. 30, (2nd mvt) mm. 1-8.................. 34
Figure 2.6, Piano Sonata No.4, Op. 30, (2nd mvt) mm. 21-24 .............. 36
Figure 2.7a, Piano Sonata No.4, Op. 30, (2nd mvt) mm. 15-16 ........... .36
Figure 2.7b, Piano Sonata No.4, Op. 30, (2nd mvt) mm. 48-50 ............ 37
Figure 2.8, Piano Sonata No.4, Op. 30, (2nd myt) mm. 74-77 ............. .37
Figure 2.9, Piano Sonata No.4, Op. 30, (2nd myt) mm. 90-93 .............. 38
Figure 2.10, Piano Sonata No.4, Op. 30, (2nd mvt) mm. 66-69 ............ 39
Figure 2.11, Piano Sonata No.4, Op. 30, (2nd mvt) mm. 140-143 .........40
Figure 2.12, Piano Sonata No.4, Op. 30 ............................................ .41
Figure 2.13, Piano Sonata No.4, Op. 30, (Ist mvt) mm. 7-8 ................ .43
Figure 2.14, Piano Sonata No.4, Op. 30, (Ist mvt) mm. 22-25 .............44
Figure 2.15, Piano Sonata No.4, Op. 30, (2nd myt) mm. 5-8 ................45
Figure 2.16, Piano Sonata No.4, Op. 30, (2nd mvt) mm. 66-74 ........... .46
Figure 2.17, Piano Sonata No.4, Op. 30, (2nd mvt) mm. 162-169.........48
Figure 3.1, Single symmetric system .................................................. 52
Figure 3.2, Double symmetric system ............. ~ .................................. 53
Figure 3.3, Single & double systems combine to create modes .............. 53
Figure 3.4, Duplex single & double systems ....................................... 54
Figure 3.5a, 5b, A chord with enharmonic equality ............................. 54
Figure 3.6, Tritone nucleus I ............................................................ 55
Figure 3.7, Tritone nucleus II ...........................................................56
Figure 3.8, Major enharmonic sequence ............................................. 56
3.,
9 T TItone
"
"
nucIeus Wit" h" v "&" w " ...................................... .57
FIgure
Figure 3.10a, Piano Sonata No.7, Op. 64, mm. 1-4 ............................. 59
Figure 3.10b, Piano Sonata No.7, Op. 64, mm. 17-20 .......................... 59
Figure 3.11 a, Piano Sonata No.7, Op. 64, mm. 29-34 .......................... 60
Figure 3.11 b, Piano Sonata No.7, Op. 64, mm. 39-42 .......................... 61
Figure 3.11c, Piano Sonata No.7, Op. 64. mm. 63-65 .. :....................... 61
Figure 3.12, Piano Sonata No.7, Op. 64, mm. 73-74 ........................... 62
Figure 3.13a, Piano Sonata No.7, Op. 64, mm. 10-11 .......................... 63
Figure 3.13b, Piano Sonata No.7, Op. 64, mm. 29-33 ..........................63
Figure 3.14, Piano Sonata No.7, Op. 64, mm. 1-29 ............................. 64
Figure 4.1, Comparison of Chord-pair & Tritone nucleus ....................72
Figure 4.2, Comparison of harmonic scheme in Sonata No.4 &
Sonata No. 7 .................................................................. 73
Figure 4.3, Piano Sonata No.4, Op. 30, (1st mvt) mm. 64-66
Piano Sonata No.4, Op. 30, (2nd mvt) mm. 1-2 ................ 74
ABSTRACT
This paper demonstrates how and why Alexander Scriabin's Fourth

Piano Sonata marks a critical turning point in his compositional style. It
also touches lightly upon the philosophical underpinnings of his musical
evolution. Three piano sonatas are examined in turn: the Third Sonata --a
work representing Scriabin's early style; the Fourth Sonata --a significant
transitional piece; and the Seventh Sonata --a sophisticated work from his
later period. The innovative harmonic language and musical form of the
Fourth Sonata is traced back to its roots in the Third Piano Sonata, after
which its evolution reflected in the Seventh Piano Sonata is elucidated.
Scriabin's innovations in the Fourth Sonata include his use of the chordpair, his exploration of the tritone, his manipulations of dominant seventh
chords and the condensation of the multi-movement sonata into the onemovement sonata. The Fourth Piano Sonata marks a clearly turning point
in Scriabin's compositions.
INTRODUCTION
I
Alexander Scriabin has been an important and enigmatic figure

among composers since the turn of the Twentieth Century. His philosophy
and mystical inclinations 'have attracted the attention of many -scholars and
his works have inspired exhaustive analyses for decades.
"The history of music reveals no other personality, no phenomenon
quite like Alexander Scriabin. He was a visionary who deserted the world
of normal experience for an occult world of the spirits." 1 Scriabin was a
"thinking artist" of rare gifts. 2 Music to him was a means of illumination,
the gradual unfolding of the intuitive mystery which he felt lay at the heart
of all creation. 3 He viewed musical creation as a channel for philosophical
belief, and attempted to express the creator's love for humankind through
his composition. His philosophy is revealed in the following diatribe:
"] cannot understand how to write just music. How boring!
Music, surely, takes on idea and significance when it is linked
to a single plan within a whole view of the world. People who
just write music are like performers who just play an
instrument. They become valuable only when they connect
with a general idea. The purpose of music is revelation. "4
1 Richard Anthony Leonard, A History of Russian Music (London: Jarrolds Publishers
Ltd., 1956) 211.
2 Boris de Schloezer, Scriabin: Artist and Mystic trans. Nicolas Slonimsky, intro. Marina
Scriabine (Berkeley & Los Angeles: University if California, 1987) 79.
3 Martin Cooper, "Scriabin and His Piano Sonatas." The Listener January 1942: 29.
4 Faubion Bowers, The New Scriabin: Enigma and Answers (New York' St. Martin's
Press, 1973) 108.
10
In the present document the highlights of Scriabin's life and his

growth as a philosopher and composer will be discussed, and three piano
sonatas, each from different periods of his life will be examined. The
Third Piano Sonata, Ope 23 (1897), the Fourth Piano Sonata, Ope 30
(1903) and the Seventh Piano Sonata, Ope 64 (1911) make up a logical
sequence in his development. The Fourth Sonata is here considered the
turning point of Scriabin's compositional style. This tumultuous work is the
link between Scriabin's early compositions and the innovative harmonic
system of the later period.
The development of Scriabin's music and his philosophy are closely
interwoven. His personal struggle involved constant introspection, trying to
achieve both spiritual enlightenment and musical growth. Around 19021903, Scriabin first encountered Theosophy, a school of thought
originating in the United States in 1875 that combined esoteric Buddhist
with Hindu doctrines. It revolves around belief in the evolution of the
human soul through struggle and suffering. Its goal is the final, ecstatic
reconciliation of the human spirit with divinity. It is a philosophy that
encourages the participant to establish direct contact with the divine
principle through contemplation, resulting in non-rational, emotional
insight. Specifically, Scriabin felt that Theosophy's focus on the capacity
for the evolution of human consciousness justified his innovative harmonic
sonorities. This is clear in the Fourth Piano Sonata where the unresolved,
ambiguous harmonies reflect his concept of the Infinite. Scriabin's secret
notebooks of 1903-1905 show an increasing fascination with the concept of
self as the microcosm of the universe. He wrote:
11
"The universe represents the unconscious process of my

creative work. The sensory world is a part of it, illuminated
by my attention. I am nothing; I have a will to live. Through
the force of my desire I create myself and my feeling for life."
In the same notebook he also wrote:
"I am nothing. I am what I create. The destiny of the universe
is clear. I have a will to live. I love life. I am God. I am
nothing .... I want to be God. I want to return to myself. The
world seeks God. I seek myself. The world is a yearning for
God. I am a yearning for myself. I am the world. I am the
search for God, for I am only w hat I seek. The history of
human consciousness begins with my search and with my
return. "5
Scriabin's brother-in-law, Boris de Schloezer, was a Russian poet

and philosopher who possessed extensive musical knowledge. He offered
unique insight into Scriabin's philosophical development, recalling
Scriabin's joy when the following thought suddenly dawned on him:
"'Nothing exists!' he exclaimed. 'If nothing exists, then all is possible."'6
All this may seem to reveal Scriabin as a deluded ego maniac with an
extremely self-centered personality, living in his own universe. Perhaps,
instead it is the desperate cry of a human being who is searching within
himself for God. If he had been born half a century later, he might now be
better understood with the spread of New Age philosophies. Scriabin's path
was from the God outside him to the God within. These thoughts were
ahead of his time and are reflected in his music, his art.
5 Boris de Schloezer, Ibid. 122.

12
Not everyone understood Scriabin's philosophy and there has been

some misunderstanding of his unique works. The Russian conductor and
writer Leonid Sabaneyeff wrote in a negative vein some years later:
"Scriabin's innovation ... consisted mainly in creating new
chords. This enthusiasm of his was a sort of sport with him.
Scriabin wished to outdistance all his contemporaries in
creating chords 'with the greatest numbers of notes.'''7
That opinion seems to trivialize the depth of Scriabin's creative innovation.

Sabaneyeff continues:
"Scriabin shared the general fate of his contemporaries, which
consisted in the fact that they were all carried away by the
search for new chords, new 'harmonies,' that they were
carried away by the hunt of the exquisite, the refined, and
forgot the puissant, the mighty and the majestic, forgot the
field of rhythm and melody which was overwhelmed and
swallowed by the prodigiously grown realm of spicy and
exquisite harmony."o
A different assessment of Scriabin's harmonic language is found in
Schloezer:
" ... in order to understand Scriabin, one must descend
into these depths and try to dispel the darkness that reigned
there. This can be accomplished only by another artist
intuitively capable of embracing Scriabin's individuality in its
vital oneness. An analytic method of approach would fail here
7 Leonid Sabaneyeff, Modern Russian Composers trans. Judah A. Joffe (New York:
International Publishers, 1927) 51.
8 Leonid Sabaneyeff, Ibid. 51.
13
completely, for it is impossible to express in rational terms an

entity that is irrational by nature. "9
Perhaps this is an overstatement of Schloezer. One does not have to
understand or agree with Scriabin's philosophy in order to comprehend his
music. However, it is essential that one attempt to penetrate the composer's
subjective perception. It is also obligatory for a performer to trace the
psychological state of Scriabin when he was creating the works, in order to
interpret and convey the crux of a composition to the listener.
II
Alexander Scriabin was born on January 7, 1872 (December 25,

1871, according to the Julian calendar), into an aristocratic but untitled
family in Moscow. 10 His mother Lyubov Petrovna, was a gifted pianist
who studied with Theodore Leschetizsky at the St. Petersburg
Conservatory. Unfortunately, she died when Scriabin was a little over a
year old. His father, Nikolay Alexandrovich, did not pursue a military
career in spite of his family's military background, and instead entered the
legal profession. After the death of Scriabin's mother, his father left the
country, serving in the Russian consular service, mainly in Turkey, until he
died in 1914.
Scriabin was left to be reared by his grandmother and maternal aunt.
He displayed musical talent at an early age, beginning to play the piano by
9 Boris de Schloezer, Ibid, 108-09.
10 There is some confusion regarding the accuracy of Scriabin's birthday. See Faubion
Bowers' The New Scriabin: Enigma and Answers, p. 20-21.
14
the age of three, which his aunt enthusiastically encouraged. Scriabin was
sent to a Cadet Corps school in 1882, where he remained until 1889.
Although he was not suited to the school, students there were very
impressed by his musical talent.
Scriabin began his formal music studies in 1884, studying
counterpoint with Sergei Taneyev and piano with Georgi Konyus (Conus)
and Nikolai Zveryev. In 1887, while he was still in the Cadet Corps school,
Scriabin entered the Moscow Conservatory of Music where he continued
studying theory with Taneyev and joined the piano class of Vassili Sofonov.
He also studied composition with Anton Arensky, who did not recognize
Scriabin's genius, and failed him in composition class.
Shortly before graduating from the conservatory, Scriabin seriously
injured his right hand, thus ruling out a career as a virtuoso pianist. This
devastated Scriabin; nevertheless, he graduated with a gold medal from the
Moscow Conservatory in 1892. That same year his contemporary Sergei
Rachmaninoff shared top honors.
In 1893, Scriabin's first publisher, Jurgensen, recognized his
promise and published five works--Opp. 1,2,3,5 and 7 in Moscow. These
are the youthful compositions of Scriabin, influenced by Chopin not only in
style but also in titles, such as waltz. mazurka, nocturne and impromptu. A
year later, Scriabin was introduced to Mitrofan Belaieff, the St. Petersburg
publisher and wealthy patron of gifted musicians, who immediately took
Scriabin under his wing. Belaieff arranged and attended concerts for
Scriabin both at home and abroad, published Scriabin's compositions and
supported him financially. Scriabin remained with Belaieff's firm until
lS
1908. even after the Belaieff's death in 1903. From this time. Scriabin
performed mainly his own music in concerts.
The years from 1894 to 1901 proved to be very productive for
Scriabin. He wrote well over one hundred pieces. most of which were for
piano. including mazurkas, nocturnes, impromptus, preludes, etudes, a
waltz, and his first three piano sonatas. He also wrote a Reverie for
orchestra (1898), his First Symphony for Orchestra and Chorus (1900),
and his only Piano Concerto (1897).
In 1897, Scriabin married Vera Issakovichalso, who was also an
excellent pianist. At the same time, he accepted a post at the Moscow
Conservatory as piano professor. The teaching load was heavy and Scriabin
often complained that he had to listen to too much music by other people. 1 1
He resigned from the Moscow Conservatory in 1903.
In 1902, Scriabin had read books by Mme. Helena Blavatsky, the
founder of Theosophy--a Belgian mystic. who claimed paranormal powers.
His increasing interest in Theosophy caused a radical change in his
thinking, his life, and his music. The year of 1903 was an active and
fruitful year for Scriabin. Free of the responsibilities of teaching and under
the patronage of Belaieff, he wrote a total of thirty-six pieces from Op. 30
to Op. 43. 12 Among those was the Fourth Piano Sonata, which proved to
be a pivotal work in his stylistic development, and the Third Symphony, Le
Poeme divino In the summer of 1903 Scriabin and his wife moved to
Western Europe, where they remained, mainly in Switzerland, Italy and

1 1 Faubion Bowers, Ibid. 44.
12 Faubion Bowers, Ibid, 50.
16
Belgium, for seven years. From those countries Scriabin could easily reach
Paris, the cosmopolitan music center, where he could both perform and
promote his works. Upon the invitation of Serge Koussevitzky, a bass
player who later became the conductor of the Boston Symphony Orchestra
from 1924 to 1949, Scriabin returned to Russia in 1910 where he remained
until his death.
In 1905 Scriabin separated from Vera and went to Italy with the
pianist Tatyana Schloezer, whose uncle was a piano professor at the
Moscow Conservatory. Scriabin went to America for a concert tour in
1906, and he was not pleased with the experience. He wrote Tatyana:
"Never in my life have I been in such close proximity to the 'privileged'
class of so many well-fed idiots." 13 From 1905 to 1909 Scriabin finished
his compositions from Op. 44 through Op. 57, among which the
representative works are the Fifth Piano Sonata which is his first piano
sonata in only one movement--though key signatures were not abandoned
until the next piano sonata--and the orchestral piece Le Poeme de l'extase,
which contained, in Scriabints words, "harmonies of sound, harmonies of
colors, and harmonies of perfume." 14
In 1908 Scriabin again met Serge Koussevitzky who admired
Scriabin tremendously and published his compositions. Koussevitzky
arranged a performance of Le Poeme de l'extase in Moscow, and managed
concert tours for Scriabin in Russia in 1909. After returning to Brussels
from the Russian trip, Scriabin began his last orchestral work, Prometheus.
13 Alexander Scriabin, Quoted in Faubion Bowers, Ibid, 61.
17
He orchestrated it for a large orchestra, piano, chorus, and a Luce--a lightcolor machine, a keyboard instrument which is somewhat similar to an
organ, and produces lights and colors when being played. The work was
completed in mid-1910; the first performance, in Moscow in 1911, was
conducted by Koussevitzky with the composer at the piano, but without the
light-color keyboard. 15
While Scriabin was on foreign soil, he continued to develop his
philosophy, and dreamed of creating a new work, an "omni-art work,"
consisting of dance, singing, poetry, light and scent--Mysterium. It was to
reveal" ... a higher synthesis that is of a divine nature, and which at the
supreme moment of existence is bound to engulf the entire universe and
impart to it a harmonious flowering, that is, ecstasy, returning it to the
primordial state of repose that is nonbeing." 16 Throughout his iife,
Scriabin's compositions became increasingly complex and refined as his
philosophical beliefs matured.
In early 1910 Scriabin and his family resettled in Moscow. This was
a rather less productive year than those years preceding it, similar to the
silence of 1902. In 1911 he finished the Sixth and Seventh Piano Sonatas,
and began the Ninth. The following year Scriabin completed his last three
piano sonatas, though the Eighth was the last to be finished in 1913 along
with Op. 74, his last piano composition.
By 1913 Scriabin realized that he was not yet ready for the huge
project--Mysterium. He began to work on Acte Prealable, a work which
15 Elizabeth Anna Barany-Schlauch, "Alexander Scriabin's Ten Piano Sonatas: Their
Philosophical Meaning And It Musical Expression," diss, Ohio State University, 1985, 11.
16 Boris de Schloezer, Ibid, 120.
13
was to be an introductory act, preliminary to the composition of
Mysterium. 17 He was writing the text himself.

In 1914 when Scriabin went to London to perform, he discovered a
blemish on his upper lip. On April 2, 1915, Scriabin gave his last recital
with "unusual inspiration and emotional penetration." 18 Upon returning to
Russia, the pimple developed into a carbuncle, which caused severe blood
poisoning. Scriabin died on April 27, 1915, leaving behind his unrealized
project--Mysterium.
III
Although we can find the influence of Chopin, Liszt and Wagner in

Scriabin's music, he wrote in a distinctly personal style. His
characteristically languorous, lofty melodic lines; his rich, lush harmonies;
his sparkling, illuminated timbre; and his grandiose, heroic climaxes all
represent Scriabin's unique personal style. His art is a result of his inner
soul searching, and his entire oeuvre bears the imprint of his continued
personal evolution.
Scholars agree that 1903 represents a year of radical change, a
turning point in Scriabin's philosophical development and compositional
style. The Fourth Piano Sonata, Op. 30, was written in the summer of
1903. The innovation and mysticism of this pivotal work and those that
followed parallel the grandiose striving toward the Infinite of Theosophy.
19
The year 1903 was not only productive for Scriabin, it was also a
year marked by search, experimentation, and change. Although "money
was always at the root of Scriabin's physical suffering, and it was the
motive for his incredible industry over the summer of 1903 ... ," 19 the
musical focus of his work shifts to a new harmonic language during this
period. Scriabin wrote in his notebook that" ... a synthesis can be
consummated only by human consciousness, elevated to a superior
consciousness of the world, freeing the spirit from .the chains of the past
and carrying all living souls away in its divine creative flight. This will be
the last ecstasy, ... "20 Traditional musical forms and harmonic language
could no longer express and convey his inner development; he had begun to
search for a new harmonic language to express his struggle toward selfrealization.
In order to understand fully how the Fourth Piano Sonata represents
this turning point of Scriabin's compositional style, we must return to the
works that precede it, and advance to the compositions that followed. A
very significant portion of Scriabin's works consist of piano works, from
the early Walt.:: in F Minor, Ope 1 (1886), to the Five Preludes, Op. 74
(1915), his last piano work, all of which chronicle the evolution of
Scriabin's style. They include preludes, etudes, mazurkas, impromptus,

waltzes, poems, one piano concerto and the ten piano sonatas. Scriabin's
development as a composer is most clearly evident in the piano sonatas.
The works to be discussed are representative of early (Piano Sonata No.3),
19 Faubion Bowers. Ibid, 54.
20 Boris de Schloezer. Ibid, 120.
20
transitional (Piano Sonata No.4), and mature (Piano Sonata No.7) periods
of his style. The Fourth Sonata is especially significant in its role as a
bridge between the early and later periods, and will be the focus of this
study.
21
CHAPTER 1
Piano Sonata No.3
I
The Third Piano Sonata, Op. 23 in f# minor, was written in 1897.
That year Scriabin was about to become a father, and he accepted a
position at the Moscow Conservatory. This sonata contains" ... purely
psychological, subjective expressions of Scriabin's soul states and personal
feelings ... ".l It depicts Scriabin's "struggles, sufferings, and blissfulness" -all his emotional and mental states at that time, and the composer subtitled
the sonata Etats d'Ame, or "soul-states." This sonata was accompanied by a
program note for each movement::?
The free, untamed Soul plunges passionately into

an abyss of suffering and strife
II
The Soul, weary of suffering, finds illusory and

transient respite.
It forgets itself in song, in flowers ...
But this vitiated and uneasy Soul invariably
penetrates the false veil of fragrant harmonies and
light rhythms.

2 The program note was written by Tatyana Schloezer, Scriabin's second wife.
22
III
The Soul floats on a tender and melancholy sea of
feeling. Love, sorrow, secret desires,
inexpressible thoughts are wraithlike charms.
IV
Now the elements unleash themselves. The Soul
struggles within their vortex of fury. Suddenly,
the voice of the Man-God rises up from within the
_
Soul's depths.
The song of victory resounds triumphantly.
But it is weak, still ...
When all is within its grasp, it sinks back, broken,
falling into a new abyss of ... nothingness.3
The Piano Sonata No.3 is written in four movements. The first

movement, Drammatico, is in f# minor and sonata-allegro form; the
second movement, Allegretto, is in Eb major; the third movement,
Andante, is in B major, both the second and the third movements are in A
B A form; and the last movement, Presto can juoco, is in F# minor and is
also in sonata-allegro form. In this sonata cyclic elements are used: the
opening theme in the first movement returns at the end of the third
movement as a bridge attacca into the last movement. Also, the languorous
theme from the third movement is transformed into a heroic climax and is
placed in the coda of the fourth movement. This is one of Scriabin's trademarks: weakness transformed into triumph, perhaps influenced by Liszt.
3 Faubion Bowers, Scriabin: A Biography of the Russian Composer. 1871 - 1915, vol. 1
(Tokyo, Palo Alto: Kodansha International Ltd., 1969) 254-55.
II
The first movement of sonata No.3 is in sonata form, and Scriabin's

phrasing structure is also very strict; almost all phrases are four bars in
length. Scriabin often indicated that he wrote "in strict style," and "There is
nothing by accident ... I compose according to definite principle. "4
The exposition of the first movement (measures 1 to 54) consists of
the first and second themes (measures 1 to 42) with a closing section
(measures 43 to 54).
The character of the first theme with its imperious dotted rhythm
and daring leap is aggressive and
ene~getic.
It represents struggle and
battle, and consists of three elements: a1 is a upward leap of a fourth in the

left hand followed by a voice-crossing, melodic line in the right hand; a2 is
a triplet figure. These two elements are the basic components of the first
theme, which is introduced in the first two measures. Later, this theme
develops into a3 in measures 11 and 12, becoming an arch-shaped melodic
line. (Figure l.Ia, l.Ib)
mm.
..,
a-
al
.~
...
(~.
m.S.
...........
al
Figure 1.1a -- Op. 23, (lst mvt.) mm. 1-2
24
11
mm.
~~
:""
12
...
~~Yp"l
..
'\
f=
;-..
....- H
;'
~.
4-
""
mp
~
~!
Figure LIb -- Gp. 23, (lst mvt.) mm. 11-12
The second theme is passive, lyrical and expressive, and it is in A

major --- the relative major of F# minor. There are two elements in this
second theme. The b 1 begins the phrase with a descending line, then leaps
up a fourth and down a fifth, and continues to descend in the second half of
this phrase. The b2, which is in the inner voice, is a tied-note followed by
four eighth notes. This four-eighth-note pattern is almost a retrograde of
the eighth-note pattern in measure 28. Also, this b2 resembles the second
half of a3 , but in a diminished form. (Figure 1.2)
mm.
Figure 1.2 -- Op. 23, (1st mvt.) mm. 26-28
2S
Thereinafter, all the
themati~
ideas are integrated with each other in a
highly contrapuntal style; nevertheless, the four-bar phrasing remains

crystal clear. (Figure 1.-3)
mm.
35
36
.. .
tl. - :::s.
.'
......
.......
~
~- ... ~
I.,
~~=
.
_II.
;:
..
-, -..
38
37
:!c;l.;e
f:
:.. \. . . fj
,....
'-
IC.
...
1--
r-;-..,----I
" I
__
, I
if=- ~ ~l...:J
.6.
~i1';;'I~
".. I~..i~
.. ~I =- -==
[...
11: \.Il I~.A:_
L..:__ I _-1.....I _
J----I_
___ , __
. ,~ .
1
=-Figure 1.3 -- Op. 23, (1st mvt.) nun. 35-38
The materials presented in the first and second theme are cleverly
combined in the closing section. The following example demonstrates the
complexity of the texture. (Figure 1.4)
mm.
47
48
49
.,
50
a'to
.....---;
/:ll
In the development which follows (from measure 55 to 94), all

motivic ideas are manipulated and blended together. By the end of the
26
development, the theme bl is in an augmented form which brings out the

climax, along with the a3 stirring underneath it. In this instance, Scriabin
presents the two main themes simultaneously. (Figure 1.5)
mm.
85
84
83
86
YI
..
..,
In the recapitulation, Scriabin shortens the length of the first theme,

going directly into the second theme. The coda starts at measure 123, and
the movement ends quietly.
Although quite a number of cadences are not in root positions, the
harmonic language of this movement is basically conventional. However,
Scriabin was very fond of using the second inversion of triads, creating a
feeling of instability compared to the solid sound of the root position. For
instance, the first phrase ends on V64. (Figure 1.6)
~.
,'',
...
27
mm.
,.,
~~
J
.h .rii ~
.~
::-....
.. JI
<
;:-:-.... .... 1 ..,.
-=::::-
..
\.
cJI9
V9
. ) .
t .':
~~
o.:"~ :::
t#:
.,.
tI
.~
....lEo
...
A..'
)C.
i,"
"
'.
.....
4-
d#0 7
ii 043
_ i.
A"
.
'r
,.
111.
C
a#7bS c#
v7bSIV V64
a#Mm7
V7/V
The following example shows an augmented sixth chord in measure 20

which resolves into a 164 chord in measure 21. This is followed by other
embellishing sonorities before the arrival of the dominant in measure 24.
(Figure 1.7)
mm.
17
18
19
CJ
..
...
."
'" ...
I
, ~
......... . , ~ I
I
I
.
p-*-+
'1:.: -,-,_w
:--.....
I~'"
I.
;--I ....
~
q~'
~
~
--.::
-'1
_
....
:w::
.:..=;...
~
FMm7
A: bVI7
iv 6
(cont'd)
28
(cont'd)
mm.
20
22
23
24
\~
~c.-: ~ ~"'.
FAug6
A: Ger.o
-r
(1
A
[64
Figure 1.7 -- Op. 23, (lst mvt.) mm. 17-24
Finally, one should note the harmonic scheme of the entire sonata:
I - f#, II - Eb (1)#), III - B, and IV - F#. These roots outline a second
inversion of a B major triad which is the subdominant of Fi'--Scriabin's
favorite key relationship.
Although there are interesting harmonic features in this sonata, such
as delaying the resolution of augmented sixth chord as shown in Figure 1.7,
it is written mainly in a conventional Romantic style.
29
CHAPTER 2
Piano Sonata No.4
I
Soon after he completed the Third Sonata, the use of traditional

harmonies proved inadequate to express Scriabin's ideas. The innovative
nature of Scriabin's Fourth Piano Sonata is the beginning of Scriabin's
changing style to accommodate his mystical inclinations.
According to Schloezer, Scriabin associated his philosophy of life
"with the specific structure of his major works, which to him
represented a series of gradual expansions systematically and
logically evolving in the direction of a final ecstasy. Indeed, all
Scriabin's works ... are built according to a uniform
succession of states--Ianguor, longing, impetuous striving,
dance, ecstasy, and transfiguration. This outline is basically
simple; it is built on a series of upswings, with each successive
wave rising higher and higher toward a final effort, liberation
and ecstasy. " 1
To convey his insights through his music, Scriabin was searching for a new
musical language to accomplish his destiny, and he made his own structural
outline based on a strict formula. Scriabin believed firmly that "freedom
cannot draw straight lines without firm design."2 Music, no matter how
beautiful it is, without form and organization, it would be like a river
without a bank, nothing but a disastrous flooding.
2 Faubion Bowers, Ibid. 129.
30
Again in Schloezer's words:

"Scriabin's music, seemingly so complex, appears upon
examination extraordinarily transparent and lucid. It is
complex in the number and variety of its constituent elements,
in its yearnings, emotions, and ideas. But at the same time it is
remarkably simple when grasped in its entirety; then it appears
classically sculptured and harmoniously proportioned. "3
The Fourth Piano Sonata follows this basic rule, as Schioezer
indicates, to complete Scriabin's plan. As Bowers pointed out:
"In the Fourth Sonata ... both structure and sonority are
crystalline. The shape of the whole piece in that of "A"
growing, increasing, waxing into a final and ultimate "A+,"
spaced with rises and falls. The pressure grows from quiet to
grandiose. sustaining one single line of tension.
Scriabin will follow this structure of gradually evolving
moods in all future sonatas. from languor, thirst, or longing
(invariably slow. soft, vague, mysterious perhaps, and
certainly indistinct, as if to induce the auditor's attention).
through struggle, depths and heights, or battle (usually a
skittering allegro with speed to disrupt tranquility and
excitement), through flight, dance. luminosity, or ecstasy (each
marked as such. in French). The chain is a series of lifts,
ascents and upsurges, finally bursting into fragmentation,
dematerialization, dissolution --- a last and final strengthening
of freedom." 4
3 Boris de Schloezer, Ibid, 157.

4 Faubion Bowers, Ibid, vol. I , 331.
31
II
The transitional aspects of the Fourth Piano Sonata are revealed in its
formal structure and harmony. With this work, Scriabin began to explore
the new possibilities in traditional harmony by emphasizing sonorous
edifices rather than harmonic function. As with everything he composed,
this new style was not an accident; it had been forming gradually over a
number of years.
The Fourth Piano Sonata represents an evolution of the forms used
in Scriabin's first through third sonatas. Sonatas Nos. 1 and 3 are both in
four movements. Although sonata No.2 (Sonata Fantasy) is in two
movements, they are two independent movements. Sonata No.4 is also in
two movements, yet it is structured as a single sonata form with an
introduction. As Scriabin often indicated, "I want the maximum expression
with the minimum means. "5 This economy of form reflects Scriabin's
philosophical development toward formal and external simplicity with
internal complexity.
The Andante, the first movement of the Fourth Sonata, acts as a slow
introduction. The first eight-bar phrase starts with a languorous, lyrical
theme, six measures long. It concludes with two measures of motivic ideas,
which will be used often, marked con voglia --"with longing"--and a rising
quintuplet. (Figure 2.1)
32
mm.
It
..,
:l"
2
,-
.,
r.'rr-
..
, ,
..
..
-...
------~~~-------~lJ------~
l\
I j) .!l
l--I
"r
-=.
p ctoIC+S.
1:
~l
1 tJ ~~..
~=
., .
.....
tI'
'::"1
mm.
Con l:ogllI.\
,..,," . 1
6J
___- - - - . . . .
~,I"m
'
5
i
rv.6ato~
I::::===--
I(~~~~~"~.
. ,
. , ~.
.,
...
c'97
-efI4#3
F':
V97
cJfI: Fr.6
The last two measures of this phrase are used a few bars later, with a trill
appended. The trill was a favorite pianistic devices of Scriabin. To him,
trills were "palpitation ... trembling ... the vibration in the atmosphere,"
and a source of light. 6 (Figure 2.2)
33
18
mm.
21
'20
19
.~.,
...
I~I
Bb9-;
Eb;
c;
v97
~#3
Fr.6
D'l:3
GW
V431V
y6
Later, he recasts these two bars with expanded bass accompaniment underneath, and with the marking: animando poco a poco. (Figure 2.3)
26
mm.
27
animando po~
"
!1
e)
..
"
...
.~~ ~
~J
"
~\. .... I~
.::..
~J
~;;.
--
\.
'. .Il+
.
.......
'1P....
t~
i-'-
"
:I
;;+
q,..:f!;'.!
~~~ .~.--
:::. .......
'.
"
..
..
.' ""'....;;.
29
28
~
I!'
~-
~-~
0#5
0;
b;
1+
This languorous theme is then combined with bell-like chords in the

upper register (Figure 2.4a), and then with broken arpeggiation, which
represents sparkling stars and shimmering light. (Figure 2.4b)
34
mm.
35
36
37
38
8----
., II
-...-..-
.... . :-;--...
. . I~
'.
..--....-
I
I
~-
. II
I I
~----:""'I
~.
l~
l.-kl
I I ....:.
II
~I
Figure 2.4a -- Op. 30, (Ist mvt.) mm. 35-38

mm.
43
44
45
8~~==~~~======~====---~========
mm.
46
,
<
_11.,,11 ..
..
'FF'\
ilIib.Jm m
fI "II
'+'
j)
...
...
........
....
J.
...
=--
Figure 2.4b -- Op. 30, (lst mvt.) mm. 43-46
35
This introductory theme reappears in both the development and coda of the
second movement, though in an augmented form. There will be !urther
discussion later in this chapter.
The second movement, Prestissimo volando, is in strict sonata form.
It consists of exposition (mm. 1--47), development (mm. 48--81),
recapitulation (mm. 82--128) and coda (mm. 129--169).
In the exposition, the first theme is an eight-bar phrase made up of
three essential elements. These elements are manipulated throughout the
entire movement. (Figure 2.5)
3
mm.
a1
=
*'
,. u ;;
..
,,/f
,.,
tI
'p-p
~JI
.a,
:::t
4-
-".r-:.
..
7f!
~
: ..
..
mm.
~J
,. iI
crt!Sc.
... .
..
.-
Ya31
~!
L~
.. . .
[1 Jbl)\
jr
."
6' I
a3
..
:.
-., -
I
~I
.....
~~ L~
. ..
, _l
::t
(cont'd)
36
(cont'd)
8
Mm.
..r}
J
,
11l~ l~lJl
a3
11:';.== .....
..
...
=t
--..I
Figure 2.5 -- Op. 30, (2nd mvt.) mm. 1-8
The material bracketed a 1 in Figure 2.5 begins with a wide leap, with both
hands in contrary motion, and proceeds with 'an arch-shaped line. The a2 is
a perfect example of Scriabin's "harmonic melody" theory. He indicated
that melody and harmony are not two separate entities; instead, melodic
and harmonic structure are fused, so that the melody simply unfolds in a
certain order and rhythm, its sounds contained in the synthetic chord. 7 In
a2 , E# acts as a lower neighboring tone approaching f# from below; G#
acts both as a upper neighboring tone and the ninth of f'#9. The sonority of
that measure is f#9. Finally, the a3 is simply a descending chromatic line.
The second theme of the exposition begins in measure 21. The upper
voices marked b i move in an ascending chromatic line, the bass voice b2
establishes a pattern of a diminished 4th followed by a major 3rd, and the
inner voice marked a3 which is from the first theme. (Figure 2.6)
37
mm.
.
...
1
n :: ... "
24
22
21
'.
p:"'---"t
:i~i
r'
I
The following three examples will illustrate how Scriabin blends these
different musical materials. They interact with one another and depend
upon each other. (Figure 2.7a, 2.7b)
mm.
15
16
I'
t!
Figure 2.7a -- Ope 30, (2nd mvt.) mm. 15-16
38
49
48
mm.
a1
a1
r-
50
.
.or..
J",!\. '
...
"
II:..'
~J:":lJfl ~ ..
-"'.
.
..
--.;;;.;
J--.hl~
p
:
.a
.L'-:.. . ~
00
'
I...'Tr
~.
I
.,.. --= .,....,..
.;- "'+'
.,...+---. ....-:""'i
''7'
+,....
11
"'J1oo'
..~;' iT,;'
I ~
Figure 2.7b -- Gp. 30, (2nd mvt.) mm. 48-50
Also, the marked a3 is accompanied by a combination of varied b I and b2

material. (Figure 2.8)
74
mm.
II'
tJ
75
.. :--
..
ir
...
" ~+
'--""
*.
..
101 ...
,.... ..
y
tt
...... . .. .. - .. ,.... .. '.!,.( ..

..
,..,. ,
L..!..J
-...- b2 ITr e: -.....
plJ~'J
...
iI
_If>
"-
~.>
'>
'\~t
--I
v-----\ ~..;:--;..
..
....
."
if
(coDt'd)
39
(cont'd)
76
mm.
, ..
77
. , h~ + I r---r' ' _ +
.,
I'
:;,a,.
----
-...I
'T . :
V i
'~
I ".
~.....
-=--;:
'-----'"
- 11
1 - '_ _ _ _ _
Figure 2.8 -- Op. 30, (2nd mvt.) nun. 74-77
Although the first and second themes are straightforwardly presented

in the recapitulation, it is in a more complex contrapuntal style than in the
exposition. (Figure 2.9)
91
90
mm.
1\'
~I
~..
.",--.
tJ
.".
.'+=
~
+.~
mm.
::.s.1
\d
.T
UJ
93
(
r~
Figure 2.9 -- Ope 30, (2nd mvt.) mm. 90-93
40
In the development, the climax is achieved by the recurrence of the

introductory theme in an augmented form, accompanied by a wide-ranging
broken-chord figuration, and marked fff. (Figure 2.10)
67
66
mm.
:::.-
~.
:::.-
..
Ir.ff
ffl
....
:s _
69
68
1\
:>,....-
. .
tI
mm.
..
'!
-..
-..
..
7('
)fJ
~ I\u./.~~.
fJ ~
-.
OJ
~~.
-- --
:::.-
m.d.
.....::!=...J
-t/..
,
-#0
Finally, this introductory theme reappears again in the coda.

(Figure 2.11) This time, the original languorous theme from the
introduction is transformed into a broader, triumphant theme with rich
chordal accompaniment. This theme propels the victory to the end and
reaches the highest Scriabinic ecstasy.
41
mm.
140
141
mm.
142
143
The following is a formal diagram of the Fourth Piano

Sonata.(Figure 2.12)
42
Form of Sonata No.4

Measures
Materials
Derivation
Hannony
Comments
Introduction
(First movement)
1-66
1-7
7-8
9-17
18-19
20-21
22-23
24-25
26-27
28-29
30-31
32-34
35-50
50-66
Inla
lb
Ia,c
In2
Id
In2a
Ie
In2c
If
In2d
Ig
Inlh
(mm.I-I5)
1n3
IV(B)
Inla
Inlb
(Ab)
In2
Inld
In2
In2
In2
(Bb)
1n2
VN-V
(G)
(pi)
over I pedal
Inla,ln2
lola
VN -- V9
Exposition
(Second movement)
1-47
1-16
17-20
21-29
30-35
36-47
1st theme
a l ,a2 ,a3 ,
trans.
2nd theme(I)
(II)
codetta
a 2,a3
b,a3
b,a2
a2
1st theme consists of a l ,a2 ,

and a3
V
VN-V
over V pedal
Development
48-81
48-66 1 (I)
48-55
56-66 1
al
a2,c (new)
66-81 (II)
66-73
Inla
74-81
(retransition) a3 ,c
82-97
98-101
102-116
117-128
1st theme (mm.I-16)

trans. (mm.17-20)
2nd theme (mm.21-35)
retrans (mm. 36-47) a2,c
129-143
143-169
a l ,a2
Inla
i(F#-), iv(B-)
B -- pi
chromatic accending B-pI
pi -- B#
In la in aug(tritone)
mentedform
V
Recapitulation
82-116
Coda
129-169
Figure 2.12 -- Gp. 30
V
V --I
43
III
On the surface, the harmonic structure of the Fourth Sonata is rather

conventional. Its first theme in the tonic, second theme in the dominant,
and recapitulation of both themes in the tonic are evidence of traditional
classic tonal organization. However, Scriabin develops and experiments
with his own harmonic vocabulary within this traditional tonal structure.
His use of modified dominant chords, irregular resolutions, and the pairing
of certain chords from two different keys in the sonata creates a somewhat
ambiguous tonality and unusual intensity in the music. There is a presage of
things to come in this sonata, as we are able to identify a breakthrough in
harmonic construction.
One of the most important features of this foreshadowing is
contained in the introduction. The opening phrase, which consists of
intervallic linear motion, does not simply end with a conventional cadence.
Instead it moves into the C#9 first (C#-E#-G#-B-D#, the dominant 9th of F#
major) then uses the top two notes of the C#9 to form the chord B-I)#-E#GX,
which is a French augmented sixth (a second inversion of E#7 bS) in 1)#
minor--a relative minor of f# Major. Both C#9 and the French augmented
sixth chords function as dominants in their home keys, they are combined
here without resolution. This creates an extreme tonal ambiguity and
unresolved harmonic tension. (Figure 2.13)
44
mm.
7
_It,
II
F':
.,
..
...
r1':
E'4#3
Fr.6
Scriabin experiments with this combination more than once in this

movement. In other instances, the resolution of the French augmented sixth
chord is delayed. (see Figure 2.2) Here the harmonic progression
resembles the one in measures 7 and 8 (Figure 2.13), except in a different
key. Rather than avoid the resolution of the French augmented sixth chord,
Scriabin enriches the expected resolution through a chromatic line in the
bass that glides through a secondary dominant before reaching the V of C
minor in measure 21. The resolution is delayed and tension is created.
A transposition of the same sequence is used again from measures 22
to 25. This follows the same formula, except in another key, that is
transposed from'F major to D minor. (Figure 2.14)
4S
mm.
22
23
:!4
:!5
c43
V43IV
. ,
A~~
V6
Moreover, a combination of these two chords is used again in a new

context in mm. 26-27. Here, the A9 (of D major) and the C#4#3 (of B
minor, a second inversion of C#7b5) are paired together; instead of going
into the minor key, it returns to A9 and resolves to D major. (see Figure
2.3) A transposition of this same unique harmonic progression occurs in
measures 30 to 34.
From examples 13 through 16 above, we see that this dominant ninth
and French augmented sixth chord-pair is used in three different ways: as
a cadence without a tonic; as the dominant to a minor key; or as the
dominant to a major key. These two chords have their own identities and
yet function as a unit in the musical context. This advanced use of the
combination of two dominant function chords in different keys
foreshadows "Dual Modality. "8
Undoubtedly, the tritone is Scriabin's favored interval. " ... The
8 See chapter 3.
46
tritone is the crux of Scriabin's harmonic system .... In Scriabin's music

the tritone was clearly the most essential ingredient used and he exploited
it."g
Scriabin alters the dominant seventh chord by lowering the fifth, and
this modified dominant becomes V7b5. It is a French sixth-sounding chord,
constructed with two symmetrical intervals--two tritones.
The following example illustrates the unconventional use of
harmonic vocabularies within conventional harmonic progressions. In this
phrase, the augmented sixth chord does not resolve to the dominant
immediately; instead, it descends to the secondary dominant by a tritone,
and then the dominant arrives afterwards. (Figure 2.15)
mm.
. 6
~ j r : . . ,i~L :
DMm7
bVI7<Ger.~
(cont'd)
47
(cont'd)
68
mm.
69
t~.
' ,
,.-:
:>
~~
..,..
1\ "
lIl.d.
-A
-~
....::!!:..r _ m.d.
r#mm7
iii7
D:
70
mm.
71
,-
>-
~.-f: ~. r.-I
-------m.d.-.
F#0 7
D:
mm.
iii7bS
72
73
=>-..::>
DMm7
D: Ib7
Figure 2.16 Op. 30, (2nd mvt.) mm. 6674
74
48
(cont'd)
8
mm.
C#9
y9
Figure 2.15 -- Op. 30, (2nd mvt.) rom. 5-8
When the introductory theme recurs in the development, the bass

notes move down a tritone from F# to B#, through sonorities of D6,
F#mm7, f#rtJ7 to D9. (Figure 2.16)
67
66
mm.
,...
::-
\-~
ff
/:~
:.~
:>
II
iff
~I\'m~
..
'"
>.....-
--
---.........
r.;: .....
~
-.
_If
D:
16
(cont'd)
49
Scriabin uses the respelled D7#5 (B#=C) chord to form a third

relation with the tonic. This relation is presented in the final cadences as a
replacement of the dominant. (Figure 2.17)
163
162
mm.
::.-
,,~~
~~
" ,~4-*'" .....
.,.
--..
...
:t:
mm.
..
?""-'+
F#:
Ii:-z-,
""':$.~
:z-,
"
+ ~
-+
-+
D~[m7#S
Ger. 6
F'M
164
165
:s:--..........
:-
:+
~...L...L
LLJl.
{
~
-.........
1""'1
rz-.
~
~
?" ::;
7"
.L
..
---..;
--...
.....
"""""rI
~
t.LL
....
.....
A.
-+
....
~
:::.L
7"
4=
DMm7#S
Ger.6
F#:
" " .. ..
~~
S:I:"*:J::t-::I:
~
j
-~
-.
..
..............
.'
.LA. .JL
j.'"": , .... ~ of +++
"$.++ \+
jjj
169
168
167
166
mm.
::s:
..
"
~-
........... 11-11~.I. ~
...... ..-,+,
t..;...;~-
--
L.:..t
-y
.....
Jl.
-e:
='--eo.
50
Normally, the D augmented sixth chord should be spelled D-F#-A-B#, and

both outer voices' should resolve outwardly to C# which is the dominant of
F#. In measures 162, 164 and 165, the D augmented sixth chord, which has
a raised fifth (D-F#-A#-B#), causes the listener to expect the dominant C#
but does not resolve to it; the C# dominant is replaced by this new
augmented sixth chord. At the end, the bass emphasizes the tritone B#-F#
instead of a conventional V-I cadence.
IV
In the Fourth Piano Sonata, Scriabin experimented with the
possibilities of new harmonic vocabularies, and exploited the tritone. All
the devices discussed above--paired chords functioning as dual tonalities,
the use of the dominant seventh chord with a lowered fifth or raised fifth,
the substitution of the tritone relationship for the dominant-tonic
relationship--create together a whole new world of "harmonic sonorous
edifices." Philosophically, they reflect Scriabin's orientation toward the
infinite possibilities for the human consciousness. Its apparent irrationality,
irregularity, and instability make sense in the context of Scriabin's highly
intuitive world view. When Scriabin compared this sonata to his Tenth
Sonata, he stated that, " ... There too is a kind of asphyxiation from
radiance ... winged flight ... light. ... one feels in the moment of
ecstasy. " 10
Through this sonata, Scriabin initiates a shift from the traditional
10 Faubion Bowers. Ibid, ISO.
51
style to his unique personal style. The Fourth Sonata represents only the
beginning of his stylistic evolution, a major stepping stone toward his
Myster;um.
52
CHAPTER 3
Piano Sonata No.7
I
The six sonatas that follow Scriabin's Fourth Piano Sonata are all
one-movement pieces, and he abandoned key signatures altogether after the
Fifth Sonata. He was creating his own harmonic system and formula, based
upon his own philosophical ideas. Scriabin's Seventh Piano Sonata
continues the trends began in the pivotal Fourth Piano Sonata.
1910 was a quiet year for Scriabin. He finished the Prometheus, and
returned to Moscow for the remainder of his life. As in 1902, which was
followed by an outburst of creativity in 1903, 1910 was followed by the
renewed energy of 1911. He wrote two morceaux, two poems, two sonatas,
and a poem-nocturne, all works for piano. Among them is the Seventh
Sonata, which was Scriabin's favorite.
Scriabin thought that the Seventh Sonata represented the pure and the
"holy," pronouncing its sonorities "beatitudinous" and "saintly." He felt that
he presents his philosophy in sound, with themes of shimmering light,
"sparks from the fountain of fire," bell calls, even the "sound" of perfume.
Scriabin played the Seventh Sonata repeatedly in public and private
concerts. He subtitled the sonata the "White Mass", and he even thought it
surpassed the Prometheus. 1 According to Bowers, "He [Scriabin] called it
[The Seventh Sonata] 'purest mysticism,' and felt that in it he had at last
1 Faubion Bowers, Ibid, vol. 2, 231.
53
achieved 'the highest complexity within the highest simplicity,' for finally
his system was clear and concentrated, while the message it conveyed was
ultimate and absolute. "2
Scriabin's philosophy was a form of mysticism, and his harmonic
system has truly been a mystery to most people who have studied his music.
For decades scholars have tried to analyze Scriabin's later works using
different methods and theories. Among them is the theory of "Dominant
Derivation," which is based upon the the traditional tonal character of
Scriabin's early works and considers the chord structures of his later works
to be derived from the dominant chords; there is "Quartal Harmony,"
based upon the fact of Scriabin's favored use of the subdominant and his
positioning of the seventh chord in a root-seventh-third combination; there
is the "Overtone Series Theory," the "Synthetic Scales" theory, the "Serial
Theory," and the "Mystic Chord" theory based on the harmonic structure
of the Prometheus.
These approaches have shed light on particular aspects
of Scriabin's style, but have been found inadequate for developing a

consistent theory of Scriabin's harmonic language. Not until Russian
theorist Varvara Pavlovna Dernova's convincing theory was introduced to
the western world did there exist a more precise analytical method for
illuminating Scriabin's harmonic system. 4

3 Roy J. Guenther, "Varvara Dernova's System of Analysis of the Music of Scriabin,"
Russian Theoretical Thought in Music, ed. Gordon D. MacQuere (Ann Arbor: UMI
Research Press, 1983) 168-74.
4 Demova (born in 1906) is a prominent Russian theorist who studied at the Leningrad
Conservatory with professor Yury Tiulin. Her dissertation, "The Harmony of Scriabin,"
earned her a doctoral degree in 1974.
54
II
Demova's theory derives from the Modal Rhythm Theory of

Boleslav Yavorsky.5 The crux of Yavorsky's theory calls for replacing the
corpus of traditional theory with a single principle--the operation of the
tritone. Here the tonic is a stable function that may also be dissonant,
separating consonance and dissonance from stability and instability. 6 In the
theory of Modal Rhythm, the tritone can either resolve inwardly or
outwardly. One example of this is the Single Syrm:netric System.
(Figure 3.1)
Single symmetric system
~
~n
D
II
II
Figure 3.1
D means "unstable" and T means "stable." When two single systems are
combined, this is called the Double Symmetric System.(Figure 3.2)
5 Boleslav Yavorsky (1877-1942) was the first Russian theorist to create a new music
theory called "Modal Rhythm Theory". "Dual Modality" is derived from this new system
and is used to analyze Scriabin's music. Yavorsky was also Taneyev's student at the
Moscow Conservatory in 1898 while Scriabin was a professor there.
6 Gordon McQuere, "The Theories of Boleslav Yavorsky," Russian Theoretical Thought
in Music, ed. Gordon D. MacQuere (Ann Arbor: UMI Research Press, 1983) 109.
55
Double symmetric system
i>b!l
II
Figure 3.2
S means "subdominant" (unstable), and t means "subtonic" (stable). When

single and double systems are combined, they create modes.
(Figure 3.3)
Single & double systems combine to create modes
II
II
CMajor
II II
II
A Minor
Figure 3.3
Figure 3.3 demonstrates that when the double system notes are higher than
those of the single system, a major mode is created; and when the double
system notes are lower than those of the single system, a minor mode is
created. Other combinations, and many other modes are possible. There
are the duplex single system and the duplex double system.7 (Figure 3.4)
7 Gordon McQuere, Ibid. 113-23.
56
Duplex single system
II
dD
d~dT
dT
Figure 3.4
Note that in the resolutions of both the duplex single system and the duplex
double system, one is a dominant seventh chord with a lowered fifth and
the other is a diminished seventh chord. These two chords are considered
"stable" in this theory, although they are highly unstable in traditional
music theory.
Based upon concepts derived from Modal Rhythm Theory, Demova
analyzed Scriabin's manipulation of harmonic structures as an expression
of the enharmonic equality of a chord--dominant seventh with a lowered
fifth as a link to two different keys, with these two keys in a tritone
relationship. (Figure 3.Sa, 3.Sb)
Sa
5b
I
(
~
.. bJ
c:
V7b5
JJ.bd
1
I
bd
I
Figure 3.5a, 3.Sb
57
The G dominant seventh chord with a lowered fifth is y7 b5 , which belongs
to C major, but with enharmonic spelling it becomes the second inversion
of a y7b5, which belongs to Gb major. Dernova calls the first V7 b5, "Da"
(Departure Dominant) and the enharmonic spelling V'3, "Db" (Derived
Dominant). These two dominants are equal to each other; the dominanttonic, the fifth relationship is replaced by this tritone relationship, and one
dominant chord leads to two tritone-related keys. Demova called this link
the "tritone nucleus." And she states that, "It both was and remained
'dominant,' since the non-resolution of the dominant and all its enharmonic
transformations is understood to be at the basis of Scriabin's duplex mode .
... Every such dominant implies a tonic ... sounding only in the
imagination. "8 (Figure 3.6)
II
Da
Db
Figure 3.6
A raised fifth and a major ninth are added to the "tritone nucleus" by
Demova, based on her observation of Scriabin's later works.
(Figure 3.7)
8 Roy J. Guenther, Ibid, 182-83.
58
Figure 3.7
A whole-tone scale is involved in this six-note harmonic structure. It can be

transposed only three whole steps due to the whole-tone nature of the basic
chord. The following example shows the "chord progression" using this
sonority, which Dernova terms a "major enharmonic sequence."
(Figure 3.8)
Major Enhannonic Sequence
te, UJtt, 1t!tJt. :!!Ie III~" I

Repeated pattern
Figure 3.8
Dernova furthermore observes that sometimes there is an added sixth

in the basic chord. Because of the significant role of this note, she terms
this note "v" when it is with "Da" as a sixth and "w" when it is with "Db"
as a third. She also notes that this note needs to be resolved when it is heard
as a minor third to "Db", due to the clash with the major third in "Db".
The "w" either resolves a half step up to become the third of "Db", or a
59
half step down to become the ninth of "Db". In other words, the "w" also
resolves into "Da", since "Da" and "Db" are equivalent. (Figure 3.9)
~I-~
~
~It-~
Da
IJ{U1J"
i''!L~
f'U )
IJlirn~ ..
Db
~\l~ HI!!
II
II
Db
Figure 3.9
As Roy Guenther points out, "This type of analysis acts as a fleeting

reminder of the traditional basis of Scriabin's late style. The fact that
Dernova's system allows for and, in fact, depends on the retention of
certain aspects of the traditional tonal system lends strong support to the
validity of her unique and imaginative analytical method. "9 Scriabin's new
harmonic system clearly emerged from the traditional harmonic system; in
his system, melodies derive from harmonies and harmonic structures fuse
with melodic lines. With this innovative compositional technique, Scriabin
had created an unprecedented variety of sounds.
9 Roy 1. Guenther, Ibid, 192.
60
III
Although the Seventh Sonata uses a new harmonic system, its form is
based on a classical design. Elizabeth Anna Barany-Schlauch, a former
doctoral student in Piano Performance at the Ohio State University,
outlined its form in her DMA document as an exposition (measures 1-76),
a development (measures 77-168), a recapitulation (measures 169-236), a
second development (measures 237-312), and a coda (measures 313-343).10
Three themes are introduced in the exposition. The first theme
contains three elements.(see Example III-lOa and b) According to Scriabin,
the first element is the "Will" theme (Ia), the wide rhythmic leap which he
had always used since his early compositions. The chordal passage that
follows the Ia contains "bell harmonies" (Ib) 11 , which are marked to be
played mysterieusemenf sonore. The Ie is an arpeggiated figuration which
ends with a high-pitched trill, marked avec une sombre majesfe.
(Figure 3.10a, 3.10b)
10 Elizabeth Anna Barany-Schlauch, Ibid, 127.

1 1 Elizabeth Anna Barany-Schlauch, Ibid. 121-22.
61
mm.
2
1a.
mm.
Ib
myslllrteusemenl semore
'--..:.
moS.
of
Figure 3. lOa -- Op. 64, mm. 1-4

mm.
17
18
/.C
.,
-...-:::---..
-3
20
19
Ie
.I:.:A.
"
'" :;;..;;'
;::..
tr
;::..
i..---..
~
,
-I
.:,-,
pp
)
"
II
::1'"
;::..
~:= 1"/
" L~~j
r.~y
Figure 3.lOb -- Op. 64, mm. 17-20
62
The second theme also consists of three elements.(Figure 3.lla,

3.11 band 3.11 c) IIa is a lyrical, melodic line representing "pure
mysticism"; 12 Scriabin marked it avec une celeste volupte. lib is a
descending quintuplet, sometimes integrating with lIa, other times with la.
IIc is a rhythmic variation of lib, and is rounded off with chordal triplets.
(Figure 3.lla, 3.l1b, 3.11c)
mm.
29
30
nt/pc UlIS
dip-see
31
vo I up ee
ITa
1 ___
>
1\
fr-
~r
'P
-7' ~
1L;5
::J
::~-i~
'I
'",I
..
~ix~~
.
L
7!:::J -t Lr':
if -1 6i
34
33
32
..--
fI .,.,.-
..
..
:r-
. .,-
OW"
'T{
;.Ix;
~
II
mm.
.,
--.
..
I~I
.i
'.
tJtt'
'r:
~
pp
~1.
~:r
1;i -t
;r
.~
1/
q~
- -~
K
.. ~I
....
~i"i!-:
..
......
~
r:1
,..
........
1;.1
Figure 3.lla -- Op. 64, mm. 29-34
I 2 Elizabeth Anna Barany-Schlauch, Ibid, 122.
. ...
,
.. I
Iff
....
('
63
mm.
39
mm.
40
41
42
lIb
.cr:rf
~f
"-=t
~
:.--......J
m.s.
Figure 3.11b -- Cp. 64, mm. 39-42

mm.
63
65
64
~ ~
"1 I
~'
"1
'-'_--=-5_ - '
<-r r.y
~
I~a
.J.-:f. J
-:""-!
':.;~.r~i
~~
,
5
b
;lJ,:.d~ I
'I
Figure 3.11c -- Cp. 64, mm. 63-65
5~
64
The third theme is a flashing arpeggiation with a crystalline sound on
the top note. It is like "sparks from the fountain of fire," 13 and is marked
etincelant. (Figure 3.12)

mm.
74
73
.III
etince!ant
r
Figure 3.12 -- Op. 64, mm.73-74
All of the above thematic materials are in fact derived from one
harmonic structure, and typify Scriabin's "harmonic melody and melodic
harmony." The sonata is based on a tritone nucleus--"F#." The different
themes unfold from this f# tritone nucleus into a complete harmonic
structure with different timbres, rhythms, and sonorous blocks. The first
and second theme groups contain essentially the same harmonic structure
in a transposed form. (Figure 3.13a, 3.13b)
13 Elizabeth Anna Barany-Schlauch. Ibid, 124.
65
10
mm.
11
71Iysterip.usefllt7lt S01ll)re
>-
::..~
.J
Figure 3.13a -- Op. 64, rom. 10-11

mm.
29
30
31
na
",~c un8 c~l"tL vo~l:tip:.:c.:.e_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
1----1"
iX~"~.
~
I ~ I 1,--..
~
mm.
32
33
na
......------~.....-
Figure 3.13b -- Op. 64, mm. 29-33
..t.-
66
In measures 10-11 (Figure 3.13a), Ia contains C-E-Fil(Gb)-Bb_Db(-9) and

A(an added sixth); IIa (Figure 3.13b) contains G#- B#-CX(D)-Fil-A#(+9)
and E#(an added sixth). These two sonorities are equivalent.
In the exposition, the first theme moves to the second theme through
an "major enharmonic sequences." (Figure 3.14)
First theme
Second theme
tin
.i
mm.l
17
25
II
29
Figure 3.14 -- Op. 64, mm. 1-29
The following is the diagram of chord roots of the "harmonic progression"

of the entire .Seventh Sonata:
Diagram of Sonata No.7

Bracket = Trilone Relation
Slur = Third Relation
Tie =Prolonged Root
Exposition 1-76
mm.
Thern!llic la
malenals
1%
Ii
Chordrools
mm.
4 5
10-1617
25
29-35
Ib la
Ib
Ia/lb
lIa
la
36-38
Ib
I-=-- i; i~ r
eg; i=tbi j q z~
3
17
25
- ~
Y:::::e (j ~
29
36
39
60
69
73
lIe
lIe/lla
III
'1:
/ (-)
60
'E::!:J~ I~ I~
61
63
64
66
69
70
71
59
39
45-48
lIa/1lb IIb/la
72
45
46
47
48
~j
59
3t5
73
74
75
76
(J)
--.J
Development 77-168
mm. 77
Ia
malenals
80 81
Ib Da
Them~lie
~: ~fF?~
89
92
Ia
Ib
Ii
Chord roo s
mm. 77
~.
:..
135
'.i
137
79
81
89
93
lIa
V
91
99
~J5
<=""">
93
99
157
Ib
19E?~1
141
142
143
113
lIe/lla
109
lIe
IIb/lla
J3i
~,i
152
156
101
109
119-124
III
~~
;;
110
113
"'"-----"
118
119
125
la
127
Da/lle
s;~
~1
"'"-----"
123
125
127
132
161
Ia/Ib
f.t;;; (.)
157
161
168
01
<Xl
Recapilulalion 169-236
mm. 169
Themlllie Ia
malenals
171
Ib
173
Ia
175
Ib
177
Ib
192 197 203

Ib II a/llb Ib
183
Ie
~ ~fl;s I," ~'t=)/~ =-oj

I.
I~
<?
Chord rools
mm. 169
218
207
Db/lla
227 228
lIe
lIb
"Cj I(J?~~"~
.
171
173
175
171
183
189
197
203
207
213
214
215
~
2
lu
218 219-226227 228
it(~
~e. fto
229
233 234
2nd Developmenl237-3J2
mm. 237
Them!llie la
malenals
t:
~
249 253 260

Ib lIa Ie
Btl!
~
~
I,
'!if B'1 ~ 1~ .. &~
273
Ib
Efiif)"
bit
II
Chordrools
mm. 237 243 249 253 260 263 264 266 268 269 270 271
289
III
t.--J
272 277 289 291 293 298 300 301 302 306
II ..
~
&
307
.
#0
!
308
Coda 313-343
mm.313
335-343
Ublle
Them~lie Db
malenals
:ut=
::z H
#'2 t
Chordrools
mm. 313
319
It
334
JY
335-343
II
0'0
1.0
70
The first theme begins in C and, after a 28 measures major

enharmonic sequence, arrives at the second theme in G#; the third theme of
the exposition ends on C double sharps (D), which is a tritone from G# in
the development. After G# the development moves to G, and progresses
through several sequences to E before the beginning of the recapitulation.
The recapitulation starts in Bb and goes through the same sequence as does
the exposition, reaching the second theme in f#. The extended section of
the recapitulation is mainly built around f# and Eb. The coda is in FIf.
From the above harmonic scheme, we see that the F# tritone nuc1eus-- f#A#(Bb)-C-E-G#, and I)#(Eb, as "v")--dominates the structure of the entire
sonata.
mm.
1-76
Exposition
Thematic
materials
Chord
Roots
II
G#
77-168
169-236
237-312
Development Recapitulation 2nd Development
G#
I
Bb
313-343
Coda
II
f#
(A#)
Towards the end of the sonata, there is a chordal passage depicting

madly ringing, bells marked.fJf, but at the very end, it quietens down and
ascends to the top register with a shimmering trill. Note that the last two
notes, G# and D#, form the interval of a perfect fifth. Thus after Scriabin's
exhaustive exploitation of the tritone throughout the sonata, he ends with
the surprisingly pure sound of a perfect fifth. Perhaps this movement
reflects Scriabin's belief in the freedom, peace, and perfect harmony
creating the soul after its struggle on earth.
71
CHAPTER 4
Comparison of Piano Sonatas Nos. 3, 4 and 7
I
The evolution of Scriabin's piano sonatas follows his personal

autobiography and musical growth. The sonatas move from the
conventional to the revolutionary; from a romantic intensity to an
economical density. In Bowers' words, "They move step by step into
greater and greater emotional complexity and musical technicality." 1
Scriabin's piano sonatas are the epitome of his works and his life. In them,
form is condensed to single movement structures, expressing the maximum
with the minimum; the harmonic structure breaks away from traditional
harmonic language, and a new harmonic vocabulary emerges. These
changes did not occur overnight but over a period of time, the catalyst
being his discovery of Theosophy. Because of his immersion in this
philosophy, both his spiritual and musical life underwent a radical change.
As Arthur Eaglefield Hull states, " ... the middle works ... represent
Scriabin in the most important and fascinating development of his
personality. "2 The Fourth Piano Sonata, Op. 30, is one of the many
compositions completed in the summer of 1903. The evidence that the
work is a turning point in Scriabin's compositional style is clearly reflected
in the form and the harmonic structure of this piece.
1 Faubion Bowers, Ibid, 173-74.
2 Arthur Eaglefield Hall, "The Piano Sonatas of Scriabin," The Musical Quarter'.\! 2
(1916): 613.
72
II
Bowers had stated that "Scriabin was the first Russian to use the
sonata as a basic platform for continuous expression and to achieve genuine
masterworks from and through it."3
As pointed out earlier in chapter 2, the Fourth Piano Sonata evolved
from the forms used in the First through Third sonatas. The First Sonata,
Op. 6 (1893), is in four movements: the first movement is Allegro con
juoco; the second movement is untitled but uses a metronome indication;

the third movement is Presto; and the last movement is Funebre, a
mourning for the injury of his right hand. The Second Sonata, Op. 19
(1897), is in two movements: the first movement is Andante, and the
second movement is Presto. The Third Sonata is in four movements as
discussed in chapter 1.
Although the Second Sonata, like the Fourth Sonata, is in two
movements, these two movements are autonomous in nature. The Fourth
Sonata has two movements, but the first movement serves only as an
introduction to the more substantial second movement. Both Scriabin's
philosophy and personal musical style frequently express a longing for the
highest evolution and synthesis of body and soul. Normally, this longing is
depicted in a "Languor" theme and is followed by a "Will" theme, which is
active and assertive suggesting battle and struggle, the "Languor" theme
returns, to be transformed into a triumphant, grandioso character, reaching
a final blissful moment. The format of a single-movement sonata form
73
appears to better serve Scriabin's spiritual and emotional idea of unity and
complexity-in-simplicity in comparison with a multi-movement structure.
This is apparently what Scriabin was experimenting with in the Fourth
Sonata. The "languor" theme is introduced in the first movement. later
recurring twice in a fast version in the main body of the sonata. and then is
"transformed" into a victorious conclusion. The first movement here is
unable to function on its own; rather it. forms part of the unity of the
entire sonata. After the Fourth Sonata, the one-movement form becomes
the medium of choice for all Scriabin's later sonatas.
III
The harmonic language of the Fourth Sonata also represents a

revolution. Scriabin had been searching for a harmonic system to better
express his spiritual ideas. The evidence for this is clear in this sonata: the
use of two dominant functional chords from two different keys
simultaneously (measures 7-8. I); the unusual harmonic progressions in
tritone instead of in conventional fifths (measures 5-8. II); the key
structure in the development; and the lack of definite cadences. again both
creating and suggesting tension. as well as the power of the irregular and
non-rational. All of these techniques presage later changes in Scriabin's
harmonic language.
Chapter 2 discusses the dominant ninth and French augmented sixth
as they appear as a chord-pair. This chord-pair appears the first time in
measure 7 and 8 in which the C# ninth chord functions as V9 in F# major,
74
and the French augmented sixth functions as dominant in 1)# minor, the
relative minor of F# major(see Figure 2.1). This chord-pair is used six
times in a short introduction, and is manipulated with no resolution to
either a major key or a minor key. It has a very close resemblance to the
tritone-nucleus of Scriabin's later works. The chord-pair connects a major
and its relative minor key (Figure 4.1a), and the tritone-nucleus connects
two keys with a tritone relationship. (Figure 4.1b)
~ ~II
F#:
v9
I#~
It
d#: Fr.G
&1
II
c:
y7b5
~~
Gb:
bhbt
~
II
y7b5
Figure 4.1a, 4.1b
In the traditional fifth-relationship harmonic progression, the bass

line normally would be moving up a fourth or down a fifth. Figure 2.15
shows a somewhat unconventional chord progression in the Fourth Sonata.
This progression is derived from the traditional fifth-relationship, but uses
a tritone root progression between measure 6 and 7. In the conventional
sense of harmonic progression, G#9 in measure 7 should be approached by
its dominant - D#, instead it is preceded by D, which is a tritone to G#.
This type of chord progression we find again in the coda (see Figure 2.11),
This fact alone would not be highly unusual. However, similar relationships
are presented in Sonata No.7.
The development (sonata IV) begins with D major, which is the bVI
7S
of FIf major, and there is a reason for the choice of this key. The tritone is
an extremely unstable sonority, attracting Scriabin more than any other
interval. Traditionally, the end of the development should be in the
dominant in order to return to the tonic in the recapitulation. According to
the logic of the circle of fifths, the end of the development should be in C#,
and the C# should be approached by G#, which should be approached by
D#. Instead of following these logical steps, Scriabin alters the traditional
circle of fifths: he begins the development in the bVI key ih order to form
a tritone relationship with the G#--V/V in FIf. Therefore, on the larger
scale, the progression of the development becomes F#-D-G#-F#. If one
compares this progression with the "major enharmonic sequence" of the
Seventh Sonata, it is not too difficult to see the connection between these
two harmonic progressions. (Figure 4.2a, 4.2b)
a Sonata No.4
Exposition
b. Sonata No. 7
Recapitulation
Development
First Theme
Second Theme
Figure 4.2
The example IV -2a from sonata No.4 returns to the conventional fifth
progression after the tritone leap, while the example IV -2b from sonata
No.7 continues the tritone sequence and breaks from the traditional
harmonic progression. Also, when the transformed introductory theme
appears, it is harmonized from D major to D9 in two phrases. The first
76
phrase is harmonized D6 and F#mm7 (measures 66-69), with the F# in the

bass, and the second phrase is in F#7 and D9 (measures 70-73).
(see Figure 2.16)
The lack of regular cadences is another aspect that breaks with
tradition, and is also a device for blurring tonality in order to create an
ambiguous, unstable sonority. For instance, the end of the introduction to
the Fourth Sonata is in C#9, which is the dominant of fI/; instead of moving
into the pi major chord directly, moves to B64 -- a second inversion of the
B major triad with pi: in the bass. Although the fI/ chord is not presented,
it is implied. (Figure 4.3)
64
mm.
66
6S
11! ::'::.!:: J.: ::::( ::' ::\
Mov't I
...
F#:
G#Mm7
V71V
"*
attacca
C#9
C#9
V9
V9
2
mm.
Mov't II
1(1~~r ~
:7
2J.
~i J.
This same device is used again later in the retransition from the
development to the recapitulation.
77
All of these compositional techniques, including the chord-pair,
exploitation of the "tritone progression," and the avoidance of resolution,
cause the harmonies to become more independent entities and obviate the
necessity of a confirmed tonic. They create a unique harmonic timbre, a
continuity of musical content, and a strong sense of infinite possibilities.
78
SUMMARY AND CONCLUSIONS

Richard Leonard wrote in 1957:
"In his aesthetic Scriabin remained a romantic to the day of his
death; but all through his mature years he was also a
revolutionary who contributed to the enormous activity which
was going on in the tleld of harmony and from which would
be born the technique of the new music today." 1
Scriabin's spiritual ideas developed over his lifetime, and were
paralleled in his musical development. Since existing structures and
harmonic systems of his time were inadequate vehicles for his spiritual and
musical insights, every work was an experiment in reaching his final goal:
the expression of mystical unity, the possibility of human spiritual
evolution, and the portrayal of the highest kind of ecstasy--the
reconcliIanon
OI
man and God through art. The Fourth Sonata represents a
new path for Scriabin in harmonic usage and in form. Emerging from the
traditional harmonic language of the Third Sonata, it foreshadows the
musical structure used in his later sonatas.
Although Scriabin's early compositions were strongly influenced by
Chopin, Liszt, and Wagner, his works always exhibit an unmistakable
personal trademark. The Third Piano Sonata is representative of his
youthful work. Full of chromatic, lush, colorful harmonic language, it is
based on traditional sonata construction, incorporating the device of
thematic transformation. A languorous theme in the third movement
1 Richard Leonard. Ibid, 219.
79
becomes a triumphant theme in the coda of the fourth movement,

representing the soul struggling for liberation from philosophical
suffering. Although Scriabin begins to alter and modify dominant chords in
this sonata, creating a rich and refreshing harmonic sound, the basic
harmonic scheme is still quite conventional. Thus the Third Piano Sonata is
essentially a youthful Romantic work.
The Fourth Piano Sonata represents a milestone among- Scriabin's
transitional works. Influenced by Theosophy, which emphasizes the
mystical, abstract world of feeling beyond the physical world, Scriabin was
searching for au appropriate musical language in which to convey cosmic
potential. In this sonata, he seeks both a new format and a new harmonic
language in which to appropriately express his inner self. The Fourth
Sonata is the first among his ten piano sonatas to condense the traditional
multi-movement sonata into a basic one-movement structure (although still
in two sections)--an indication of his concern for economy and unity.
Scriabin's languorous theme in the introduction is transformed into a
victorious and heroic theme in Prestissimo volando, perhaps a musical
expression of positive evolution. The harmonic language in this sonata is
likewise emotionally dynamic, daring and innovative. The use of the chordpair opens up a new world to traditional harmonic progressions, implying
different tonalities through this "single-entity" chord-pair, and not simply
modulation. Scriabin's evocative harmonic language also includes the
exploitation of tritones and the use of modified dominant chords. All these
devices express fleeting, impalpable, unstable atmospheres. They sometimes
lead to unexpected resolutions or no resolution, creating blurred tonalities
80
and increasing musical as well as emotional tension.

The Seventh Piano Sonata reflects Scriabin's highest maturity and
musical purity. Scriabin felt that his novel musical ideas were best realized
in the Seventh Sonata. 2 It flawlessly conveys his ideas and it achieves all his
mystical goals, revealing a systematic harmonic structure around which the
composition is developed and organized. This system did not emerge from
nothing, and its excellence is no accident; rather, it was most clearly the
product of changes wrought during the composition of his Fourth Piano
Sonata.
It has been generally acknowledged that Scriabin's Fourth Piano
Sonata marks a turning point in his compositional style. This paper

identifies the specifics of that turning point. In addition, although the
Fourth Piano Sonata marks an important transition toward even greater
compositional economy, it also stands on its own as an important
philosophical monument--a breakthrough to a new harmonic era, and the
first great advance in the composer's spiritual and musical evolution.
2 Faubion Bowers, Ibid. vol. 2, 230.
81
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SCRIABIN'S FOURTH PIANO SONATA:

Copyright June Chow 1995

A Document Submitted to the Faculty of the

In Partial Fulfillment of the Requirements

In the Graduate College

UMI Number: 9534655

UMI Microform 9534655

Scriabin's Fourth Piano sonata:

--------------------------------------------------------------A Turning Point in His Compositional Style

and recommend that it be accepted as fulfilling the requirements

Doctor of Musical Arts

Ci2 ~Y7- tCj7 S

This paper demonstrates how and why Alexander Scriabin's Fourth

Alexander Scriabin has been an important and enigmatic figure

In the present document the highlights of Scriabin's life and his

"The universe represents the unconscious process of my

Scriabin's brother-in-law, Boris de Schloezer, was a Russian poet

5 Boris de Schloezer, Ibid. 122.

Not everyone understood Scriabin's philosophy and there has been

That opinion seems to trivialize the depth of Scriabin's creative innovation.

completely, for it is impossible to express in rational terms an

Alexander Scriabin was born on January 7, 1872 (December 25,

Western Europe, where they remained, mainly in Switzerland, Italy and

was to be an introductory act, preliminary to the composition of

Mysterium. 17 He was writing the text himself.

Although we can find the influence of Chopin, Liszt and Wagner in

Scriabin's style. They include preludes, etudes, mazurkas, impromptus,

The free, untamed Soul plunges passionately into

The Soul, weary of suffering, finds illusory and

1 Faubion Bowers, Ibid, 178.

The Piano Sonata No.3 is written in four movements. The first

The first movement of sonata No.3 is in sonata form, and Scriabin's

It represents struggle and

battle, and consists of three elements: a1 is a upward leap of a fourth in the

Figure LIb -- Gp. 23, (lst mvt.) mm. 11-12

The second theme is passive, lyrical and expressive, and it is in A

Figure 1.2 -- Op. 23, (1st mvt.) mm. 26-28

Thereinafter, all the

ideas are integrated with each other in a

highly contrapuntal style; nevertheless, the four-bar phrasing remains

=-Figure 1.3 -- Op. 23, (1st mvt.) nun. 35-38

Figure 1.4 -- Op. 23, (1st mvt.) mm. 47-50

In the development which follows (from measure 55 to 94), all

development, the theme bl is in an augmented form which brings out the

Figure 1.5 -- Op. 23, (1st mvt.) mm. 83-86

In the recapitulation, Scriabin shortens the length of the first theme,

;:-:-.... .... 1 ..,.

Figure 1.6 -- Op. 23, (1st mvt.) mm. 5-8

The following example shows an augmented sixth chord in measure 20

Figure 1.7 -- Op. 23, (lst mvt.) mm. 17-24

Soon after he completed the Third Sonata, the use of traditional

Again in Schloezer's words:

3 Boris de Schloezer, Ibid, 157.

5 Faubion Bowers, Ibid, 54.

6 Faubion Bowers, Ibid, 180.

Figure 2.2 -- Op. 30, (lst mvt.) mm. 18-21

Figure 2.3 -- Op. 30, (lst mvt.) mm. 26-29

This languorous theme is then combined with bell-like chords in the

Figure 2.4a -- Op. 30, (Ist mvt.) mm. 35-38

Scriabin's 'Fourth Piano Sonata' - A Turning Point in His Compositional Style

Scriabin's 'Fourth Piano Sonata' - A Turning Point in His Compositional Style