Professional Documents
Culture Documents
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SOLO PIANO WORKS BY SCRT ABIN )
Presented by
David Clemmons~innix
. ,
of the
University of Rochester
June 8, 1969
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VITA
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I '
TABLE OF CONTENTS
PREFACE • • • • • • • • •.• • • • • • • • • • • . . • • • 11
CHAPTER I. INTRODUCTION TO SCRIABIN, HIS BACKGROmm
AND PHILOSOPHY • • • • • • • • • • h.· ·..1
A. Form • • • • • • • • • • • • • • • • 127
B. Harmony • • • • • • • • • • • • • • 130
C. Melody and Rhythm. • • • • • • • • • 133
GHAPTER IV. CONTHI BI1TIONS AND LASTING INFLUENCES • • • 138
BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • 141
ABSTRACT
tic and exp'ert assistance this project would hard.ly have been
carri ad out. Also, I would thank the Eastman School of Music
tor the generous financial help through a Graduate Award which
ii
tti
·
made my doctoral, study possible. Finallr, I am grateful
to l1y wife, Judi, for her forbearance and encouragement
while this project was undertaken and for her help in typ
ing the manuscript.
CHAPTER I
INTRODUOTION TO SCRIABIN, HIS BACKGROUND AND PHILOSOPHY
I
2
4Ibid •
SMarion Bauer, Twentieth Century Music: How it Developed,
How ~ Listen to It, p. 178. .
6Edward M. Burns, Weste~n Ci~JJlza~ions ~ Their F13tor:r
and Th~i~ C\lltut:~, p .. f5ll iT.
8
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42-45
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Derivative Period: 1893-19°4
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ETUDE IN D't). MAJOR, OP. 8, NO. 10
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1-8 9-16 17-24 25-32 33-4041-48 49-60 61-68 69-76 77-88 89-103 104-111 118-122
Db Db r bb Gb(Db) Db Db Db II v7 I IV7
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PRELUDE IN Db, OPe 11, NO. 15
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1-2 3-4 5-8 9-16 17-22 23-28
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.Ex. 9. Prelude in Db 1:!ajor, ~ 11, No • .J:S, l!1T.l. 1 ... 8.
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FOURTH SONATA, OPe 30
(8)
First Movement: Theme Th. dev.&ext. Th. Th.
1;8 9-16 17;33 3~-41 42-~9
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33 16
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20 27 12 6 8 8
5 12 9 33
Recapitulation (47)
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,,. I I 11
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-Ex. 18-. Fourth Sonata, .9J2. 30, Movt. II, mm. 56-57.
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77
Ex. 19. Fourth Son.!3ta, 912... lQ, Hovt. II, n1Il1. 162-163.
""-"
POEME TRAGIQUE, OP. 34
Al A2 Al A2 Al A2(AI) A2 Al B 81 Al A2 Al A2+1 A2 Al
1
-k-2' 3-6:';-8'9-12 \3-14 15-18 ~9-25126-31 132-39.40-51 '52_53..1 -61 '62-6~- ch""6S 66:59I
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45
47'
At measure 52 (A l) 1;~1" o1'1::1.n31 figur-ation of measures
1 and 2 is enriched and tn t.l11.3 form it n?w becomes the
accompaniment to Theme II upon its return (m. 5!.d. The 1eft
hand part assumes a c.owm.·ro.ro -leaping charact or i n octa~res,
most of which a.re fourths nnrl fifths apart (rnm. 54-60). The
chromatic motive of JTICn,::111t'o 1.1, bocon:c 3 a simple quarter-eighth,'
lessening the rhythmic tens,ion 1n tho melody, and does not
reappear. In measure 57 ff., instead of cadencing as ex
pected, the theme is repeated and extended. There is some
further change in the fiBuration found in measure 62 ff.,
I
'.
where the outer voices restate material from measure '1-2,
with the inner voice continuing tho embellishing figure begun
in measure 52. The only difference in the repetition, aside
from the embellishment, is the expansion of the minor seventh
,(A to G, m. 27) in the earlier section to climax on a major
seventh (A to 0#, m. 63). One might also note that this
climax. is the upper note of the harmonic minor sixth {ex. 23,
48
,
Ex. 21. Poeme Tragique, ..QJ2. lU, m):'r. 3-4 .
.. -"'.
I - _........._ _ _ _--.-:...f.~...
~..,. .t.,.,.
49
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-. . Al Al SI
Intro. AI &:2 SI&2 C' D D+S2 sla2 D S2;':'\ SI:s2 S2 CB2 C-dev.
·11-16
.. ~.
17-32'33-52 153 _70 ' 71-78
~ ~ ~
I 79-86 I 87-94 • 95-98 i 99-110
.............. """ ....,;......t ~ ~
t 111-126
, "
• 127
•
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16
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16 16+4 18 8 8• 8
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4 12 16 16
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8
86 64
2 BI
1151-166
. , 1?7-17~ 179-19? 1~7-2~4 ~OS-22P 2fl-23~ I
16
t
12 18 8 16 16
86
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51
54
B, consisting of two parts (!:'J:.. 26,pp.59-60). Apparently
Soriabin intended some (ltfferrnt intion in mooo between
the ironieo of Bl (rnm .. :.D-36) nnd the ~ 1ronieo of B2
(rom. 37-40).
is legato and it:! inl.;.,r'~·nl ;111'1)cture Is close-knit, whereas
B2 1s Cletached comprising melodic leaps of the m1.nor seventh
in both hands. To the modern pianist it should suffice to
understand the differe'l:lces in mood as indicated by the ma
terial without becoming involvodwith Scriabin's descrip
tive terms, which perhaps only he and his mystical initiates
could fully comprehend.
When the material of B1 appears in its full form (mm. 33
36), the parts from the opening measures are interchanged and
are sequenoed upward in order to begin the downward motion
of B2. The two elements are then transposed down a perfect
fourth and B2 is repeated, 1eaeling to Theme C in E major.,
This is the first change of key Signature, implying tonali
ties, first in CJ then Ej up to that point, the tonal center
was disguised by altered chords and non-harmonic chords.
Theme C (rom. 54-60), like the accompaniment of Theme ,A and
the melody of Theme B, employs in its initial beat the
lower balf-step neighboring-tone pattern and then proceeds
upward by tritone, falling back atto rising again chromatica1~
, 56
The arpeggio flelJr~d', 1. ,)~l of 'j'h~rne D is used here to
accompany Theme Bl. An tnt~)';_~~3ting quintuplet-against
quadruplet rhythmic alt;~r'fll·.1I')n npPf)o.rs in the second state
ment of Bl (mm.. 101 0;).. Till:1 1'1 fol101rled by an eight-
measure reference to 1'l11rJ. (:;1 .;;oun i 13 like a coaa,· and in fact
does serve to initiate the real coda in measure 217. How
ever, Bl is restated, combined after one measure, "'lith B2
in octaves and contrary motion. This pattern is sequenced
upward a-nd. is punctuated by rests to set off the entrance
of Theme C (rom. 127-142).
Theme C is accompanied by rolled chords, 3imlllating
. b
harps, which emphasize and embellish the D major triad in
first inversion, which in turn progresses to a subdomlnant
ninth-chord with lowered fourth and raised sixth. This
chord might be likened to the IV7 of measure 60, with the
j£4
1t
ninth added to increase harmonic tension. The pedal point
on F moves down the often-used interval of a minor seventh.
This theme is again interrupted by the insistent B2 frag
ment. Finally the B2 motive is extended and re-introduces
what appears to be Theme C. However, the leap of the per~
\
Poe me Satanique, .Qt). 36, l'f!lt~.
----.-- 17-20.
. ,
Ex. 26a. Poeme Sat aniqua, On. 3.2.,
tZLU LEUL , $ ; es£¥3EU...£ ,:> e as .-3,&1$ t.... it _." .... _.... --"
60
.Ex. 26b.
.
Poeme
~ 81-·~
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Ex .. 29.
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t".- - ---~ .......... -- ::.-.......... _............ ---.........
I
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17-20
,
21-26 27-31 /
<1'
N
63
Primarily a rhythmIc :"I t.1Hl ~r, HIS ar~ the others in Opus
42, this compositlon o()no17~t.~ of n moro or less continuous
accompaniment of sixteenth nnr...,~ r:rouped in quintuplets
which overlap the bar 1irH!. Thl~ rhytr...mic grouping is ap
parently for convenience in reading the music and for a more
pianistic execution, because Scriabln give:! two indtcati')ns
that would make the pulse coincide with the main beats:
first, he uses a quintuple bracket over the first and ,sixth
notes of each measure resulting in an ambiguous' situation,
one which tends to obliterate the feeling of pulse. Second,
he writes the peaks of little crescendos to coincide with
the beat. One might construe part of the problem as a study
1n overlapping quintuplets. To further complicate matters,
the melody in the right hand utilizes triplets.
The single theme (ex. 32, p.65) appears six times and
each time ends differently (see example 33 for the two-note'
phrase endings). Twice, only the first four notes of the
theme are used (rom. 8-12, 13-16). This allows for extension
i
65
Ex. 32.
~~====+=~==~e~~i~' ti~i~~~~~t=~
~~--~~~~~~-4-~'- i -~.~~.
. ,
FIFTH SONATA, OPe 53
0'
0'
/
I'
... :;:w sc:w;::.... '," 0; ,*4§. OJ, ; ( ;,usueo' t e¥Q mit, #1 ~",.1 ; . ,iE~ lll;"
67
Fifth SonntA, Ope 53
much the sarne purpo~e a3 Theme III in the Exposition (rom. 120
139), especially with tho inclusion of episode material. With
the Recapitulation, thl:'l sogment bala.nces the first part of
the Development, consistlng of' apprOXimately 130 measures ea.ch.
Ad,ding' the Introduction ano8xposition also yield 5 130
measures, which balance the length of the Development, less
the 58 measures, and by overlappinG the Recapitulation with
the Coda's 56 measures, we find 128 measures. This process
of overlapping seems to be one of Scriabin's methods of ex
panding his overall form and is compatible with the concept
of thematic expansion desc'ribed in the ensuing pages. Also,
it is interesting to note that the first 131 :measures of the
Development comp'rise three sections of similar proportions
approximately 45 measures - aho.. .J ing a nwnerical relation
ship to the 46 measure5 of the Introduction-?rologue •. Hence,
an over:tapping of these two mathematical devices is apparent7:
instead of each section doubling itself in Size, as in the
, first q;> proach, one might also say that each 4'6-measure seg
"~\
\
69 \
Within the flr:"!l~ chnl"; ,., .... 1.11(1 TntroCluction are found
the structural interYr>l'1 r~)r r:'tj'" cd" the ~~nata (ex. 35, p.
j
81). Three notes 0'1f A E, p11l,1 t'v.' \;1:'1111ng tone F , pro
vide the perfect flfth, tritone, major aecond, minor ninth,
minor tenth and major sixth and give the Intro(1uction a
Lydian character. The quintuplets consist,of intervals de
rived from inver:sion of aome of tho!le mentloned above, i.e.,
the minor ninth becomes the ll'Ul J:)l~ seventh, and the tritone
and fifth become fourth and tritone. The tritone, which is
built over ,the perfect fourth in the·~e figures, is filled in
by ascending whole steps, which are derived from the major
seconds of the initial mOB::.lUre. It is interesting that the
elements of construction are more or less clearly spelled out
in simpler form before they are combined into thematic ma
terials in the Exposition. The Iatroductton (nun. 1-12) speeds
70
two complex chords with !'ll l ifbl.ng root~, yet both, chord:5 are
similar in con~tructton. T1.1(' m1.nol" third of motive 2' is re
flected by the root rn(,)''Jem~;l!: ~,; third:') (D'if ri F#, etc.) and
the tritone by the etc.). The first
chord of the major nint:h l'Q:l;fl on ~lth tho fifth omitted,
shares its four tOlle~ (D 1"/1 GIi' NY) with the second, a chord
of the eleventh with its ~oventh omitted. A descencH';:1B
chromatic motive (5, rum. 19-21) uJd.lizing the minor sect''lnds
of the Introduction, together v.l:lth the3e ch')rda, is re:5pon
sible for the harmonic color :)f tho Prologue.
In measures 17-20 (motivD 4), the minor third motive (2)
is 1n augmentation, embellionod by an appoggiatura (8#) and
is extended by an a~cending tritons followed by syncopated
repeated notes. In measures 29-33, there appears a struc
tural mirror image of measuros 17-20 (ex. 37, p.8l). Thi:5
means that the material of motive 4 begins slowly and end:5
with increased motion, while in measures 29-33 it decreases
with the repeated note:5 in augmentation and with a simulta
neous th1nning of texture. The chromatic motive (5) is
extended and appears in diminution, which provides the in
creased mot1on_ The transition toche Exposition begin!!! in
mea~ure 34, concentrating all of the elements of the Prologue
into four measures (rr~. 34-37). After this process of com
'pression, the thematic material is simplified until only the
descending perfect fourth remains, Which then itself under
goes a 'subtle transformation, by Intervallic interpolation of
71
l
I
73 .-'
,
76
characterist ic figure5 ramo in in. the :sarno tnt erval proport ion.
The fragment labelled U~) 1:3 liahed with comp03ite grnce
note flourishes 8.S found in tb,e I j"'oduction, but they are
built upon major-minar-major ninth harmony. The chromatic
motive (5), in a.ugmentation., 13 extonded to fill the falling
perfect fourth (1). Prologue material i5 further transformed
in measures 263-270. The ninth-chord moves to a chord of un...
equal fourths, known a3 the J-Jly~tic Chord, on A (A n# G ri;',T,'
\,I'
T;I#
...
B). One can detect, interwoven into the texture, the falling
perfect fourth of the Prologue, and the expansion of the minor
third mot i ve (2). A new mo~ tve eppear3 1n the to? voice (m,'1'J. ..,
78
These two chord~ ore thG fir3t oX3Eplo3 of the Mystic
, Chord to be found spe110d fl;J ;;Ilch :! n the :3 ~nut as. Chord $ do
to read
Fi B. In this sort of chord::! t!H;'} F'lft;h Sonata abound~.
When the Cl05 ing-theme Cr'OLlT) N)t urn:} (reIn. 271-280), the
rest.
The Recapitulation, abbreviated by the omission of meas
ures 59-79 in the first-theme sc~tion of the Exposltion,
quotes Theme I transposed down a perfect fifth, or up a per
fect fourth. Themes II and III also appear transposed up a'
perfect fourth when compared to th':;)ir counterparts in the Ex.
position, and as fer ar: r~he:t nro c')Qcerned, tho Recapitulation
79
80
I ........ - ,.
. II' •••••••• til> •
.
• :f:. .
• •
1£'
1[J
\, :':
4
86
Ex. 47.
t .... _ ",.. _ .... _ -_ _ . _ __ ... _
_~. ~....
-- - - ----
• r==r ,,
•• ..fI- + '
. . 3., +
- •
NINTH SONATA, OPe 68
1 2
rJ.~ J.?_:r 3 1 1 +):......,:1:3 e-!:.-t!.l tr .&ext __I c1 .'._~
1 .5 7 11 19 23 97 J.
l- t ,)
II 1 3 II 1 3J_L.____
l _________ II II+tr.
_ II I II,It 11 ,
155 179 '
155-206 (46
183
+ 16 )
I i
en
A' lbasica11y I . ·-11 11 -.,J
88
.
-« -.- ~ .. -..... -~
r ~
j~
I Ileo
..0 1M
I
)
•
I
~
!
k~:>
t:r-.I ~i
j~
!
fa:>
1M
l.....-.- .... ~.
,.0
I1<0
'- ~ "l" M
..:::t
o
iI p' I~
.-t
i
L en
IN
I r,J
I
-"
· i.E b
89
--_.
Mature Periocl:
--.~-
1913-1915
- -... _-
........
this composition, tho 0 1.0:' e[~t \:i~' I;, sonntas (216 ~ea9ures),
a b a b a
c :;Tf~es clo3e to
Aft "'1"
v the
l ' H"1'
.1.-
rt '....*'
.. _'- ~
',J i,
\.,) ....)....' L.)
.' - - ~
: -: , ' :1 ""; :1 no lonr~0r wrot e key
major third sand d 1m! nished sevenths (rna jor sixths). Imme
diately, in measure 2, I_I is imitated a. tritone lower. The
derive~ its initial motive from mca~u.re 32, addin;:; the re~olving
mutations with Theme II. In the ~() c ond stat0ment ( r'J11. 105
110) , elements of I_I and 1-2 are found at the center of the
sonata, again without tho aotted motive and with the rising
sequence of falling pa:i.r~ imitated at a tri.tonc and half a
beat (see m. 21). Tho notes aro the same or enharrronic
equivalents of I-I. After six measures and the cadence on
a#. fragmentation of I~l and 1-3 occurs, becoming counterpoint
to a brief, partial statement of Theme 11. Further fragmen
tatton and development of those motives is found in bars 115,
ff.
The third appearance of The~c I (row. 141-154) leads to
At. In this material, I_I i3 at first altered to become a
transition to a m::>re reCOGnizable forrn and i3 then extended
(rnm. 141-145) in' counterpoint 1;-lith 1-3 w1lich is also extended
(ex. 57, p. lOl.j). This rnHterial in punctuated by the
motive (m. 74) The six.teenth-note quintuplet flourishes de
rive from the first cadence c~lord on A (m. 7), and simply
transpose the tritone plus perfect fifth up an octave.
motive 1-3 in augmentation (see nl. 75), from the usual four-
\
measure phrase to nine measures. \ Interval exnansion, leadIng
to the return of Theme I, may be seen in the her-monic sequence
by major-minor-major ninth-chords whose basses move IJPward by
semitone (rom. 97-99), se~.ence by bass notes a third apart
(rom. 100-101) and finallY' a fourth apart, oach with the tri
tone (rom. 102-104).
.L..
'17
diminution.
order to preserve cln ;;,. 1'J co:)', :Lnl) L\3 the discussion of
'rhame II material, and THu"t;ly 1:;,) er.lphasize tho :mirroring of
the thematic sections in A and A 1. Theme II recurs in
complete in measure::; 179-200, 8.nd 13 punctuated by the ever
r ....."'''!L p
207) •
Another coda-like element occur~ 1n thE Pre5to, i.e.,'
a stripping-down proces3. I-lis reduced to a figure of •
descending .
semltones
, in
. a~~entation, accompanied by 1-3
(ex. 64, pJ.06).' The 1-1 froe,:ment is transposed dm.,rn by
octaves (rom.. 205-208) .while the accompaniment, first ap-.
pearing as angry thirty-seconcl-notepairs based on the seme
harmony as in measure 19.3, gradually dissolves. The figu
ration, consis.ting:of a harm:>nic. perfe:ct fifth fol,lowed by
a tritone leap is found on each eighth-note beet, is grad
ually reduced to purely melodic intervals on beats one and
three, and is ultimately abandoned by measure 208. At
measure 209 only the Contra F remains. It reappears as the
last note with the restat~mentofthe opening theme (rom. 1
7), which is limited to its basic.'motive. Although the aug
mented-sixthchorddoes not .reach the traditional rel!lolution
the return to the mood of t he opening, the relaxation of the
rhrtbm, the slmplltlcationo.f thematic material and the re
pose of the'flnallow:'F' make aver:':" satisfying close.
101
I"
b
, 0
I
11M
_. -........
..
.
~ ...
....--
I
VA
.~
,
\.
...
r ,..... -J!:~I
-
!.1f#
- ............
•
r··_
I...
1.1 U
~ ~4
.~
II
" , m
II
'1'£
1.); '*'"
,
1,
~
U'o
I
n.
1"1
n
,..,
~.
I
I ...
~
-- • • " _I - i~
--
,.,.If ..
I ........ A
I
r r-:
..."-Ii
It
~
I W'
f-4~ ... L ~
" ~ ,r
I""
:
• ,..
\ .\ . b~
\ ,, , ,.T
I~ '" I .... ",
:\ - ..
1"- ~
•
"'I
I ......
1
-
At.:
II' 'l'I. '1It.:
h - r " IlJ.U
II \ fl'K
,..... '';;' .: :-
'" .....
:
...
'" , .
I'" 1,- 00
I i'3
.I c.#
'-- ~ I.. -1t f' I -~ ,
102
_.•• .,
I
\.1
J\, .,I
."".. -------------------~--------~-
"'" ....... -- ~ ---------_-..
.
\
Ninth Sonata, Op. 68, m. 30.
-..... -
;-,-~~~.
~ ~:t i1'
."
II~
I V I
" 11' ,:
~
"\ .1'
~ _-""""
i_d_
)
I
i
:2: ..
•
103
. ..
-.
.. I '
., I
,.
..D16
-~ ..
. , . .&!-
"I ~"
•
#fllfl~
"If'
•
.... , .'111> _ •
... A§
. 1\
r I J ""[
i
" .. .-I
r r T " r7
I
...........
~ ~l
~-r ·
-, . •
- - ---
1 • I I I
I I r
.. ,., I ..
.
., CQ
..1'
--- - -
104
\< .",------
, ," .
L.
J
*. =49;:I;P ,,4i . AI . $.. $ ! , s;:;a:aaasS..L 2. tl
-
.
105
Ex. 60. Ninth Sone.tEl, ~ 6R, m.. 111.
-----1--
~------------~--'.
I ~ ..
..
!
l~~----~P-----------~~
.. ~.
\.. ..
)
.
UJIr
I
a
I
..,.,.
1",.. _
vr
flI
If
~.
U~. v -...
I
I
., t
I
J I .....
II I
" . .I
.-. r-
I
.J
106
Ex. 63. Ninth Son~t~, QQ. kn, mm. 189-190 •
....
. --:?::
\
.......
~ ./' .
~.
VERS LA FL~~, OP. 72
-'-".-:;"
.. e. b a b a at bab
70-80
I-'
o
-.1
'------~--~~-----------.....- - - - - ; _ 1 --"'111....
..... --------------_2_
108
Vers 18 flawme, Ope 72
109 ,
110
p. 116). Not only in it;~ rhythmic character would "bit seem
to be related to "a", but al~o in its thematic material it
is much like a mirroring of "uft, albeit an imprecise one.
The descending half-step motive could be considered a mirror
of the ascending hal!'-~tep in mOO,:,;uro 1 and also a deriva
tive ot measure 5. Tho compo30r ha! indicated by dashes
this figure, which occurs with great frequency either in
the top of the texture, or in~ido it (as in ~~. 46, 47-48,
54. 59-60). giving the appearance of free imitation from
measures 41 to 75, a large portion of the composition. Be
ginning in meal3ure 30 we find. a contour l3imilar to that of
meal3ure 3 with the perfect rourth~ C# F# c# now embellished
by an appoggiature a#. In spite of thil3 affinity with "a"
we may be jUl3tified in calling this material "b" since it
is supported by a different type of harmony.
If the chords underlying the beginning of "b" (m. 27,
ff.) were spelled quartally with the root on c# (c# Fi B
•
AI n#), the E being absent, and on E (E A# D a# 0#) then
their roots would be a minor third apart. The G-natural of
measure 28 is part of a descending three-note motive.which
can be traced to measures 18-19 (soe ex. 66, p. 116)" and
which is of a certain thematic importance. This again bears
out the close resemblance of thematic elements through the
entire po~m. ·In measure3 33 - 35 this motive is extend
ed to become a tour-note figure.
111
112
116
, "
..
,.S
" '
117
"Ex. 67. Vers Is flmrl'r!3, On •.7..?.J. rrm.' 41-43.
~r
,,--~I"_f-----,.1
-r - r
Ex. 68. Vers la flamr::e, Qp. ll, lU., 73.
..
•
- r.. " ,
I, •
.~ ;..
'i?. •
b~ .~:
.. I •
,I,
r
....... ~
l
\' ,
,. • ...
I-
i
! "F "J' :;)
,
M[ '~
l
IV
;,
I"
~b:!J ' ,
, ( ,,' ' "
I,
. : I'
I "
118
"
..
J. .,- .r"\.
I
-.,
'LV
• . - -§ -=l-~~,~:;i::~-~ ~-:- ... ;--;;;; :~
~~~Jtterr[rl1
A,
'L 1"" ........
~
r
-
e.J ,,:~,- , :::;,
...,
-I
,
. - _r:
(
~~
....
_----",,
.............
.. -
- PRELUDE NO • 2. OP. 74
- a 1 a2 a 1 +2 a2 a 1+ 2 a 2 +3 a 2 - a1
1-- -. I - ,
-I
1-2 3-4 5-6 7-8 9-10 11-12 13-14 15-17
to"'
~
,,¥ .dU .. £ .w .
120
Prelude No.2, Opus 74
if
alternating perfect fifths over the A pedal. Therein·
are implied two tritone~ pH and C, and ell and G. Very pro-
l'1inent too is the 3elllitone
I'
eif C which results from the al
ternating firth~1 and whtch r'lny trace its origin to the
descending semitonos of the ~otive in meBsure 2. The harmon,.
is static due to the alternation of the s~~e notes in the
figure. At the end of the first phrase (m. 4) the semitone
figure c# C is transposed up am$~or'-minor seoond still
over the ~I pedal providing a neighboring figure, which in
oreases the harmonic interest here and in various other
plaoes.
\fuen the theme is repeatod, it is combined with a descend
ing ohromatio 3-note motive in diminuti ~n d,eri ved from beats
2-4 of measure 2. This is the rirst textural thickening,
and provides a five-voice fabric. In measure 9 it is re
stated (with the first note implied), and extended, but now
it 1s doubled in the top voice by a minor third, whioh doubling
can also be related melodically to the minor thirds (augmented
seconds) of the motive (a l ).
The rigure 'coneisting of a 'rising sen1itone and a falling
1·
minor third in Ileaeure 11, fr., ie derived from the anacrusis
or the last statement of the melod7 (mm. 8-9) and' the rising
semitones which follow rill out the minor third or m. 1 (ex.
73, p. 122).
Unity 1s aohieved through the manipulation of thematic
material over "the constantly-repeated Fli in the bass, whioh
..
r-r---~
.\ .
.--.
PRELUDE NO.3, OP. 74
A Codettt\
A
\
1-2
a a
3-4
,. a
5-8
tr.
9-12
.....
N
\..oJ
-- --- ---_.. _._----------------------------------
124
in reverse order fro:m the one l1hich opened the prelude (A D1f),
and with the last chord, which also corresponds to the ini
tial underly-ing chord, 'irIS find double tritones (FiT df., E At/)
emphasizing the :melodic nnd barr.:onic importance of this in
terval as the principal structural unit.
•
•
126
-..'.-'
•
CHAPTER III
EVOLUTION OF STYLE
!
l With Soriabin, there was a tendenoy to use the olas
sical forms to embody romantic content. Miniatures were in
rondo, song form, or were through~composed, while the larger
pieces and sonatas were a bit more inventive, taking on a
."
127
128
129
inferences I (as the SntlL11c E.oe!1'1, Vers III f'larnme) I :might have
one or two themes, depending uTlonche e};:tent and variety of
the composer's inspiration. I:o soerr.::> to pre fer a form which
would allow him more flcn;lbiL;.~,'t to unfold his idons than a
more tightly-organizod form, ospecJnll] in the light of his
harmonic practice, which tended to obscure formal boundaries
due to its chromaticism with no definite resolution.
Recapitulations and returns of thematic ideas tend to be
literal restatereents of previous sections, with occasional
shortening of the material and some slight melodic or rhythmic
variation. "Transitions, which often contain anticipatory
elements, and episodes are kept brief, usually lasting from
one measure to three or four.
A certain ambiguity of form seems to be typical of the
larger mature works, as the Ninth Sonata, which can be ana;'
lyzed in Sonata-form but is better described as an A B A with
sections A and B overlapping. Also, the form of Vers 1.!
flamme, while 'discernible, is nebulous due to the frequent
use of the ascending or descending half-step motive, the
continuous chromatic harmonies and texture.
Microform is perhaps less interesting in Scriabin's
music. For the most part, he i.scontent to keep the four-
bar phrase unit and eight-bar periods, a fact which, accord
ing to some writers, inhibited Scriabin's musical expression.
The author believes that with occasional condensat·ion of
phrase-lengths, extensions of the four-bar phrase, and the
130
Harmon!
·132
la flarume.
following:
... ~ ....,
CONTRI nUTI OTiS l' " I I,. ' J
tones.
. .
ment of sonorities w\tleh req')'Y"') no i..
1
0so1uti')n contributed
to the eventual bren 0\-)')1 of to:1flJ.ity, tut Scri.:lbln never