Scriabin's "Fourth Piano Sonata": Aturning 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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entitled Scriabin's Fourth Piano sonata: ---------------------------------------------------------------

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.

5

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

6

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 1.4, Piano Sonata No.3, Op. 23, (Ist myt) mm. 47-50 .............. 24 Figure 1.5, Piano Sonata No.3, Op. 23, (Ist myt) mm. 83-86 .............. 25 Figure 1.6, Piano Sonata No.3, Op. 23, (Ist myt) mm. 5-8 ................. 26 Figure 1.7, Piano Sonata No.3, Op. 23, (Ist myt) mm. 17-24 .............. 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 F" 3 9 T " I " h" "&" " 57 Igure ., TItone nuc eus Wit v w ...................................... . Figure 3.10a, Piano Sonata No.7, Op. 64, mm. 1-4 ............................. 59

7

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 chord­

pair, his exploration of the tritone, his manipulations of dominant seventh

chords and the condensation of the multi-movement sonata into the one­

movement sonata. The Fourth Piano Sonata marks a clearly turning point

in Scriabin's compositions.

8

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.

9

"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.

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

10

(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 1902-

1903, 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:

"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

11

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. 6 Boris de Schloezer, Ibid. 123.

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

12

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.

completely, for it is impossible to express in rational terms an entity that is irrational by nature. "9

13

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. 1 0 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.

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.

14

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

1908. even after the Belaieff's death in 1903. From this time. Scriabin

performed mainly his own music in concerts.

lS

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." 1 4

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. 14 Faubion Bowers, Ibid, 69.

17

He orchestrated it for a large orchestra, piano, chorus, and a Luce--a light­

color 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.

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

Mysterium. 17 He was writing the text himself.

13

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.

17 Boris de Schloezer, Ibid. 292. 1 8 Faubion Bowers, Ibid, 95.

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 self­

realization.

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::?

I

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.

1 Faubion Bowers, Ibid, 178. 2 The program note was written by Tatyana Schloezer, Scriabin's second wife.

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

22

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 trade­

marks: 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. 1

y a l

a l

.~ \ ... (~.

m.S.

r

2 ..,

a-

.... . ......

Figure 1.1a -- Op. 23, (lst mvt.) mm. 1-2

4 Faubion Bowers, Ibid, 128.

24

mm. 11 12

""

~~Yp"l ... I

f= l ;-.. I ~

~ ~ :""

~ .. mp

'\ ....... -H ;'£ ~. • 4-

~!

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 b1 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

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 37 38 -, :!c;l.;e ~ ~- ... II. tl. .' f: :.. \. ... fj 1-- r-;-..,-----;: I., 1 ~~= ~ ...... :::s. ,.... '- IC. " I .. .. . .. _ ....... - -.. ... I __ , I

. -

[if=-~ ~l°...:J 1 I

.6. ~- i1';;'I~ " ~..i~ .. ~I =- -== 11: \. ~.A:_ I -1- I .. I J----I_ . ,~ . ... Il I L..:__ _ ..... _ • ___ , __

=--

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

2S

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 ., a-

-

49 50

.....---; 'to /:ll 1

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

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. 83 84 85 86

f

- .. .. YI , I

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

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)

~. ,'', , ...

mm. 5

,., .. JI

\ tI·

<

.. \.

I 4

cJI9 t#: V9

6

~~ .~ J .h ·.rii ~ ::-.... .,. ;:-:-.... .... 1 ..,.

t ~ -=::::-

~~ .- A..' )C.

• o.:"~ ::: ~ ... " '.

I -d#07 ii043

..... 4-

a#Mm7 V7/V

8

I .• ). t t .': ¥

.... ~ . 111. lEo " A" . i, _ i.

C ,. 'r ~ ,

a#7bS c#

v7bSIV V64

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

27

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

CJ .. q~'

FMm7 A: bVI7

18 19

. . ." ... '" ... I ......... ., ~ I ,_w -'1 ~ ~ , ~ I •• '1:.: -,- --.::

I. I~'" _ ............ p-*-+ :--..... ;---• I .• I .... ~ •

•. :w:: :..=; . ~ ...

d

iv6

(cont'd)

28

(cont'd)

mm. 20 22 23 24

\~

~c.-: ~ ~"'. ( ( r -r • (1

FAug6 A A: Ger.o [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.

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

29

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.

1 Boris de Schloezer, Ibid. 97. 2 Faubion Bowers, Ibid. 129.

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.

30

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)

5 Faubion Bowers, Ibid, 54.

32 mm. 1 2 3 4 5 6

,- r.'rr- I j) .!l l\ ... l--I "-It :l" ., -------~~~-------~lJ------~

1

, , , , .. , I

tJ ..,

p ctoIC+S. r 1

~l 1 ~~ -=. ~

~= I • -: . , .. , . , , , .. tI' ..... ., . '::"1

mm.

Con l:ogllI.\ ___ ----....

,..,," .. 1 ~,I"m

6J ' 5 i r J rv.6ato~ I::::===--

(~~~~~"~. ~. I .. , . , ., I ...

c'97 -efI4 #3 F': V97 cJfI: Fr.6

Figure 2.1 -- Op. 30, (lst mvt.) mm. 1-8

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)

6 Faubion Bowers, Ibid, 180.

33

mm. 18 19 '20 21

~. . ,

. ... ,

I~I

Bb9-; ~#3 D'l:3 GW Eb; v97 c; Fr.6 V431V y6

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

Later, he recasts these two bars with expanded bass accompaniment under­

neath, and with the marking: animando poco a poco. (Figure 2.3)

mm. 26 27 28 29

animando po~ ~ " !1 ~ .' £""'....;;. .. .~~ ~ ... ~J ~J ~;;. \. . :I q,..:f!;'.!

'. ·.Il •• + ;;+ ~~~ .~.--" ..

. . e) ~ I -- ....... :::. ....... --

~\. ~ .::..

t~ ~ " .... I I ~ i-'- '1P .... I I I!' ~-, : " '.

" w I .. ~

, ~-~ ~ • ~ ~

0#5 0; b; 1+

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

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~

I I l.-kl I I .... :.

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

mm. 43 44 45

8~~==~~~======~====---~========·

mm. 46

8 -_11.,,11 .. 'FF'\ - ........ ilIib.Jm m ~ .. , ~ • .... fI "II '+' I j)

< ...

~ r =--l 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)

mm.

mm.

,. u ;; ,,/f ,., ..

tI 1

: .. ..

4

a1

--

'p-p ~JI

.a, • :::t 4-

2

I

7f! ~

= *'

I

5

i

J " r-:. - . . . ~J I ,. iI r crt!Sc.

I

... . ::t ..

[1 I

3

6

I

~ L~ jr ·~I .- :. ." 6' I -~ -. . . . .,

Ya31 ~! \

Jbl)\ a3

~~ L~ ..... , _l ~ . . . . .

I

(cont'd)

(cont'd)

Mm. 7

..r} J , ,

11l~ l~lJl a3 J 11:';.== .....

.. =t ...

8

-­.. I

Figure 2.5 -- Op. 30, (2nd mvt.) mm. 1-8

36

The material bracketed a1 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)

7 Boris de Schloezer, Ibid. 322.

mm. 21 22 24

v p:"'---"t

1. n :: ... " '. .

... :i~i

r' I

Figure 2.6 -- Op. 30, (2nd mvt.) mm. 21-24

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

37

mm. 48

r-

{ :

I p :

49 a 1

.or.. J",!\. ' " -"'.

I ... II:..' . --.;;;.;

J--.hl~

.. ~;' iT,;' "'J1oo'

I

50 1 . a

~ J:":lJfl ~ .. I ~ .L'-:. .... ~ I 00 I

-.. I...'Tr ' ~.

a l --= ''7' I I . .,.. .;- "'+' ....-:""'i +,.... .,....,.. .,...+---.

11 I ~

Figure 2.7b -- Gp. 30, (2nd mvt.) mm. 48-50

38

Also, the marked a3 is accompanied by a combination of varied bI and b2

material. (Figure 2.8)

mm. 74 75

.. :--i

" ~+ *. tt . iI I

'\~t • II' ~ .. t ...... .. ,.... .. '.!,.( ..

.. .. .. - .. .. tJ

~ - 0 L..!..J ITr e: ,..,. , --'--"" -ir -...- b2 -...- I

101 ... plJ~'J

v-----\ ~..;:--;.. ,

( ,.... .. 1 "- f ~ ....

."

... y _If> ~.> '> . . . I if ...

(coDt'd)

(cont'd)

mm. 76

, .. ~ .,

-...­I

77

• . , h~ + I r---r' ' _ + i + I' :;,a,. I '~ • I ~ .....

I ". J : -=--;-----'T . : • V • i '-----'"

1-' _____ -11

Figure 2.8 -- Op. 30, (2nd mvt.) nun. 74-77

39

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)

mm.

mm.

90

~ G 1\' ~.. i I .",--.

tJ

( . r~

~.". .'+= .~ +-

91

::.s.1 i UJ \. ~ . T d

93

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)

mm. 66 67

~. :::.- :::.- :>,....-

• '! • I

Ir.ff .. . .

ffl .... ~

. . -tI

mm. 68 69

1\ :s _ -.. -.. ~ ~~. :::.-

.. )fJ 7('

m.d.

~ I\u./.~~. -. --- m - , ~

fJ ~ OJ - -- • • .....::!=...J -#0 -t/..

Figure 2.10 -- Op. 30, (2nd mvt.) mm. 66-69

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.

mm. 140 141

mm. 142 143

Figure 2.11 -- Op. 30, (2nd mvt.) mm. 140-143

The following is a formal diagram of the Fourth Piano

Sonata.(Figure 2.12)

41

42

Form of Sonata No.4

Measures Materials Derivation Hannony Comments

Introduction (First movement) 1-66 1-7 Inla

7-8 lb IV(B) 9-17 Ia,c Inla 18-19 In2 Inlb (Ab) 20-21 Id 22-23 In2a In2 (Bb) 24-25 Ie Inld 26-27 In2c In2 (G) 28-29 If In2 30-31 In2d In2 (pi) 32-34 Ig 1n2 VN-V 35-50 Inlh Inla,ln2 over I pedal

(mm.I-I5) 50-66 1n3 lola VN -- V9

Exposition (Second movement) 1-47 1-16 1st theme a l ,a2,a3, 1 st theme con-

sists of a l ,a2,

and a3

17-20 trans. a2,a3

21-29 2nd theme(I) b,a3 V 30-35 (II) b,a2 VN-V 36-47 codetta a2 over V pedal

Development 48-81 48-55 a l i(F#-), iv(B-) 48-661 (I) 56-661 a2,c (new) B -- pi chromatic ac-

cending B-pI 66-81 (II) 66-73 Inla pi -- B# In la in aug-

(tritone) mentedform 74-81 (retransition) a3,c V

Recapitulation 82-116 82-97 1st theme (mm.I-16)

98-101 trans. (mm.17-20) 102-116 2nd theme (mm.21-35) 117-128 retrans (mm. 36-47) a2,c

Coda 129-169 129-143 a l,a2 V

143-169 Inla V --I

Figure 2.12 -- Gp. 30

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#7bS) 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)

mm. 7

_It, II ., T

.. I

F':

8

E'4#3 r1': Fr.6

...

Figure 2.13 -- Op. 30, (lst mvt.) mm. 7-8

44

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 A~~ V43IV V6

Figure 2.14 -- Op. 30, (lst mvt.) mm. 22-25

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. 5

9 Faubion Bowers, Ibid, 149.

. 6

~ jr:. . ,i~L :

DMm7 bVI7<Ger.~

(cont'd)

(cont'd)

mm. 68

:>

1\ " ~ ..,.. ~~

t ~. ' , ,.-: -~ -A ~

U -r#mm7

D: iii7

mm. 70

>-. V· ~.-f: ~. r.-I

mm. 72

-

F#07 D: iii7bS

~ =>-..::>

DMm7 D: Ib7

-

69

lIl.d.

- ....::!!:..r _-m.d.

71

,-

--------- m.d.-.

73

Figure 2.16·· Op. 30, (2nd mvt.) mm. 66·74

47

74

(cont'd)

mm. 7 8

C#9 y9

Figure 2.15 -- Op. 30, (2nd mvt.) rom. 5-8

48

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)

mm. 66 67

,. .. , ::- :> >.....- --\-~

ff iff II ( y

~ /:~ ~I\'m~ '" r.;: ..... ---......... :.~

.. . - ~ -. _If

D 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)

mm. 162 163

,,~~ ::.-

~ " ,~4-*'" ..... ~ 1""'1 -~ ~

.

--.. .,. • I ......... ""':$.~ :s:---( :t:

.......... ~ ~ i:-z-, :z-,

: " ... ~

T .£. V ~ y :-?""-'- - + -+ + + -+ :+

D~[m7#S F'M F#: Ger.6 I

mm. 164 165

~...L...L LLJl. t.LL ~ .L .£. A

{ : -~ - - ---..; --... ... ..

i ~ rz-. """""rI

?" ~ ~ ..... A. ~ ~

T .... :::.L

::; 7" ~ .... T + ~ 7"

+ -+ 4=

DMm7#S F#: Ger.6

mm. 166 167 168 169

.LA. .JL

" " .. .. - -. j.'"": , .... ~ of +++ ::s: ~

.. - - -~ ~

"

S:I:"*:J::t-::I: "$.++ \+ ~- y -e:

~ jjj ........... 11-11- ~.I. ~ h Jl. j -~ ~ ...... ..-,+- , ..... t :

. .' . .. t..;...;~- ~ L.:..t • y =' , ~ .............. --eo.

Figure 2.17 -- Op. 30, (2nd mvt.) mm. 162-169

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. " 1 0

Through this sonata, Scriabin initiates a shift from the traditional

10 Faubion Bowers. Ibid, ISO.

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.

51

CHAPTER 3

Piano Sonata No.7

I

52

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.

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

53

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. 3 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

2 Faubion Bowers, Ibid, 180. 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 T

II f 2 ~ D T

Figure 3.1

II

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

~ d~dT

II dD 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 I i 1

~

bJ ~ I I

JJ.bd I bd . !

.

c: V7b5 I I

Figure 3.5a, 3.Sb

57

The G dominant seventh chord with a lowered fifth is y7b5, 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 V7b5, "Da"

(Departure Dominant) and the enharmonic spelling V'3, "Db" (Derived

Dominant). These two dominants are equal to each other; the dominant­

tonic, 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-~ IJ{U1J" i' f'U '!L~« ) II

IJlirn~ .. 3

~ ~It-- ~\l~ HI!! II

Da Db 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.

mm. 1

mm. 3

mm. 17

A

V f

: 1 I

II

of I

1a.

Ie

/.C .,

-3 I

3

2

4 Ib

• I r I myslllrteusemenl semore

'--..:. moS.

Figure 3. lOa -- Op. 64, mm. 1-4

18 19 20

tr ...-:::---.. .I:.:A. ~ ;::.. - ~ - "

I ~ '" :;;..;;' ;::.. -i..---.. "

::1'" ;::.. ~:= 1"/

Figure 3.lOb -- Op. 64, mm. 17-20

, , .:,-,

- pp I )

" -L~~j 1 r.~y

61

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 31 nt/pc UlIS dip-see I e ITa vo up e

1\ > 1 ___ - --.

. , .. . . V ~r fr- :r- ..

~ix~~ I 'P OW" . .,- ::J L - - . 'T{ - ~ 1L;5 'I ::~-i~ 7!:::J -t Lr': -1 6i ;.Ix; ~ 7' II ·if '",I

·1

mm. 32 33 34

, . i - -fI .,.,.- ..-- I~I ~ (' K .. ~I

.... .. '. . . . , tJtt' ~ 1/ Iff .. I 'r: • r:1 .. I

~1. pp ~i"i!-: ...... 1;.1 ........ ..

1;i -t ;r q ~ ~:r ~ ~ , .. ~ .... ~ .~

Figure 3.lla -- Op. 64, mm. 29-34

I 2 Elizabeth Anna Barany-Schlauch, Ibid, 122.

mm. 39

mm. 41

mm. 63

40

42 lIb

. cr:rf ~f "-=t ~

:.--......J

m.s.

Figure 3.11b -- Cp. 64, mm. 39-42

64 65

~ ~ 5~ "1 • I .J.-:f. J I -:""-!

~' "1 <-r r.y I~a ':.;~.r~i 1 ~ ~~ '-' _--=-5 _-' ~ , b 5

;lJ,:.d~ I I ~

'I

Figure 3.11c -- Cp. 64, mm. 63-65

63

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. 73 74 . 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)

1 3 Elizabeth Anna Barany-Schlauch. Ibid, 124.

mm. 10 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 __________________ _

mm. 32

f·

na ......------~.....-

~ iX~"~. ~ 1----1" I ~ I 1,--.. ..t.-

~ .

33

Figure 3.13b -- Op. 64, mm. 29-33

65

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

.i tin !

mm.l 3 5 7 8 9 17 25 29

Figure 3.14 -- Op. 64, mm. 1-29

II

The following is the diagram of chord roots of the "harmonic progression"

of the entire .Seventh Sonata:

Exposition 1-76

mm. Thern!llic la malenals

4 5 Ib la

Diagram of Sonata No.7

Bracket = Trilone Relation Slur = Third Relation Tie = Prolonged Root

10-1617 25 Ia/lb

29-35 lIa Ib la

36-38 39 45-48

Ib lIa/1lb IIb/la 59

~ I-=-- ~ -1% Ii eg; i=tbi j q z~ i; i r Y:::::e (j£ ~ ~ ~ j

Chordrools

mm.

'1:

60 lIe

3 5 7 8

69 lIe/lla

9 17 25 29 36 39

73 III

/ (-) 'E::!:J~ I~ I~ e 3t5

45 46 47

60 61 63 64 66 69 70 71 72 73 74 75 76

48 59

(J) --.J

Development 77-168

mm. 77 80 81 Them~lie Ia Ib Da malenals

89 Ia

92 93

Ib lIa

99 IIb/lla

109 lIe

113

lIe/lla

119-124

III 125

la

127

Da/lle

~ : <="""> ;; s;~ •• ~fF?~ Ii V ~£J5 e e ~~ e ~1

Chord roo s "'"-----" "'"-----"

mm. 77 79 81 89 91 93 99 101 109 110 113 118 119 123 125 127 132

157 161 Ib Ia/Ib

~. '.i :.. 19E?~1 J3i ~,i f.t;;; (.) 135 137 141 142 143 152 156 157 161 168

01 <Xl

Recapilulalion 169-236

mm. 169 171 173 175 Themlllie Ia Ib Ia Ib malenals

177

Ib

183

Ie

192 197 203

Ib II a/llb Ib

207

Db/lla

218

lIb 227 228

lIe

~ • ~ =- I~ ~~ ~ I. ~fl£;s I," ~'t=)/ oj <? "Cj§ I(J? "~ 2 it( ~e. fto

Chord rools . lu ~ mm. 169 171 173 175 171 183 189 197 203 207 213 214 215 218 219-226227 228 229 233· 234

2nd Developmenl237-3J2

mm. 237 249 253 260 Them!llie la Ib lIa Ie malenals

273 Ib

289 III

~ t: bit ~ I, . Btl! ~ u Efi€if)" II '!if B'®1 ~ 1~ .. &~ & II .. #0 !

Chordrools ~ t.--J ~ mm. 237 243 249 253 260 263 264 266 268 269 270 271 272 277 289 291 293 298 300 301 302 306 307 308

Coda 313-343

mm.313 Them~lie Db malenals

335-343

Ublle

:ut= ::z H II #'2 t It JY

Chordrools mm. 313 319 334 335-343 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.

Thematic materials Chord Roots

1-76 Exposition

I II C G#

77-168 169-236 237-312 Development Recapitulation 2nd Development

I II G# G E Bb f#

(A#)

313-343 Coda

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

3 Faubion Bowers, Ibid, 173.

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 I#~ = It II &1 ~~ bhbt ~

F#: v9 d#: Fr.G c: y7b5 Gb: y7b5

Figure 4.1a, 4.1b

II

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 b. Sonata No. 7

Exposition 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)

mm.

Mov't I

F#:

mm.

Mov't II

64 6S 66

11! ::'::.!:: J.: : :::( ::' ::\ G#Mm7 V71V

... "*

C#9 V9

attacca

C#9 V9

2

1(1~~r ~

: 7 t 2 J. 7 ~i J.

This same device is used again later in the retransition from the

development to the recapitulation.

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.

77

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

78

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.

becomes a triumphant theme in the coda of the fourth movement,

representing the soul struggling for liberation from philosophical

79

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 chord­

pair 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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