Uploaded December 2023 | Updated September 2026, 2 weeks ago
It gets desynced towards the end and I can't really fix that.
(Source from Wikipedia) According to Samson, unlike his later sonatas, the sonata-form of this work still has some meaning to the work's tonal structure. That means the sonata is arguably in F-sharp major (owing to the initial key signature of six sharps), but the sonata could also be said to be atonal due to its lack of a definite tonal center.
The work does not contain any perfect cadence, nor any consonant chord.
The work features one of the strange occurrences of the complete mystic chord spelled in fourths (mm. 264 and 268). Jim Samson points out that it fits in well with Scriabin's predominantly dominant quality sonorities and harmony as it may take on a dominant quality on C or F♯. This tritone relationship between possible resolutions is important to Scriabin's harmonic language, and it is a property shared by the French sixth (also prominent in his work).
The piece also contains an incipient instance of the mystic chord which helps illuminate its origins in tonal language; first appearing at m. 122, the set [0 2 4 6 T] is presented as a dominant chord with the flat fifth degree in the bass, later revealed to be an extended appogiatura to the tonic (m. 134), over which the same notes form a major 13th chord in root position. Compare this presentation with the 'mature' mystic chord, [0 1 3 5 7 9].
Twitter: twitter.com/zonerg27
Soundfont: Yamaha CFX by Lyzen's Piano
MIDI by: Thomas Lefeldt
It gets desynced towards the end and I can't really fix that.
(Source from Wikipedia) According to Samson, unlike his later sonatas, the sonata-form of this work still has some meaning to the work's tonal structure. That means the sonata is arguably in F-sharp major (owing to the initial key signature of six sharps), but the sonata could also be said to be atonal due to its lack of a definite tonal center.
The work does not contain any perfect cadence, nor any consonant chord.
The work features one of the strange occurrences of the complete mystic chord spelled in fourths (mm. 264 and 268). Jim Samson points out that it fits in well with Scriabin's predominantly dominant quality sonorities and harmony as it may take on a dominant quality on C or F♯. This tritone relationship between possible resolutions is important to Scriabin's harmonic language, and it is a property shared by the French sixth (also prominent in his work).
The piece also contains an incipient instance of the mystic chord which helps illuminate its origins in tonal language; first appearing at m. 122, the set [0 2 4 6 T] is presented as a dominant chord with the flat fifth degree in the bass, later revealed to be an extended appogiatura to the tonic (m. 134), over which the same notes form a major 13th chord in root position. Compare this presentation with the 'mature' mystic chord, [0 1 3 5 7 9].
Twitter: twitter.com/zonerg27
Soundfont: Yamaha CFX by Lyzen's Piano
MIDI by: Thomas Lefeldt
