Uploaded September 2026 | Updated September 2026, 2 weeks ago
Performed by Bernd Glemser.
I - Allegro appassionato (𝅘𝅥 = 152-60) - (𝅗𝅥. = 69) - (𝅘𝅥 = 152-60) - Presto - Tempo I - (𝅘𝅥 = 69) - (𝅘𝅥 = 152-60): 0:00
II - Andantino (𝅘𝅥 = 69): 7:49
III - Presto (𝅘𝅥 = 152-60): 14:48
Scriabin's Piano Sonata in E-flat minor was probably composed between 1887-9. In 1892, Scriabin extensively revised the first movement and published it in 1894 as a separate concert piece titled "Allegro appassionato" Op.4. Although superficially similar, the two versions contain remarkably few identical bars. The original sonata did not see the light of day again until after Scriabin's death in 1916, when Scriabin’s student Elena Bekman-Scerbina gave what may well have been its public premiere in 1918.
By then, the final page of the slow movement had been torn off and lost. It was left to the performer (or possibly Leonid Sabaneyev) to reconstruct the missing page and since then even this version has been lost. The nature of Scriabin’s revision of the first movement gives us a clue as to the reasons why this sonata has remained neglected for so long. Scriabin’s relentless musical development suggests that by 1892, he was no longer interested in conventional classical forms. With its publication as the Allegro appassionato in 1894, the original sonata manuscript was forgotten.
Afterwards, the autograph was finally deposited in the Scriabin State Museum, where it languished until the third movement was published in 1947. Unaware that it had been separated from the other two movements, it was at first mistakenly identified as a Presto that Scriabin had performed in his debut recital at St Petersburg in 1895. (In fact, that Presto was in G-sharp minor, as stated in the programme, and would later reappear as part of his Sonate-fantaisie Op 19.) All three movements finally appeared in print in 1970. The autographs are devoid of movement titles, dynamic or tempo markings. There are also missing time signatures, accidentals and, most unfortunately, the last page of the second movement breaks off less than two bars into the final statement of the opening theme. Luckily we have the first five beats of this final statement, which show us how Scriabin intended the theme to be embellished.
The first movement is written in sonata form. It begins with an agitated and rhythmic main theme in E-flat minor, replete with the driving triplets and the melody resounding in the lowest register of the piano. An ascending transition leads to a lyrical and cantabile second theme in G-flat major, unfolding with great yearning. A fast variation of the melody leads to a repeat of the exposition. The ensuing development opens with ominous chords from the bass, before the material is fragmented and transformed in a highly virtuosic and dramatic fashion alla Liszt. A presto climax leads to the accelerated recapitulation of the themes; the first in the home of E-flat minor but the second in B-flat major. A dramatic return to the main theme ends the allegro with a severe E-flat minor chords. Two pedal notes provide a kind of transition to the next part, even if there is no attacca marking.
The second movement is structured in an expanded ternary form (A-B-A'-B'-A''). It opens with a lyrical and contemplative main theme in E major, reminiscent of Chopin. The music becomes more expressive as the material unfolds and modulates through multiple keys. Then a second theme in form of a sombre, almost funereal march is introduced in a minor key, which seems to anticipate Scriabin's first numbered piano sonata. The main theme is then recapitulated in a varied way, followed by the second one in a more elegant and delicate interpretation. A final recapitulation of the main material then leads to a rather fragmented coda that seems to link with the next part, even though again there is no attacca marking.
The third movement is rather free in form, resembling a rondo. It begins with a rhythmic and stormy main theme in E-flat minor, contrasted by a more playful second one in a major key. Then a passionate and heavy third theme is presented, leading to a powerful climax in B major. The main theme is recapitulated, which in turns leads to another climax in E-flat minor. The third theme is then briefly recapitulated, followed by a false-start repeat of the main theme. Then suddenly, a slow and substantial coda begins, ending the sonata with a funereal and tragic series of chords, with neither redemption nor move towards a major key.
Picture: "Twilight" (1889) by Russian painter Apollinary Vasnetsov.
Musical analysis partially written by myself. Sources: tinyurl.com/25ls8edz and tinyurl.com/28jemuzs
To check the score: tinyurl.com/263flh94
Performed by Bernd Glemser.
I - Allegro appassionato (𝅘𝅥 = 152-60) - (𝅗𝅥. = 69) - (𝅘𝅥 = 152-60) - Presto - Tempo I - (𝅘𝅥 = 69) - (𝅘𝅥 = 152-60): 0:00
II - Andantino (𝅘𝅥 = 69): 7:49
III - Presto (𝅘𝅥 = 152-60): 14:48
Scriabin's Piano Sonata in E-flat minor was probably composed between 1887-9. In 1892, Scriabin extensively revised the first movement and published it in 1894 as a separate concert piece titled "Allegro appassionato" Op.4. Although superficially similar, the two versions contain remarkably few identical bars. The original sonata did not see the light of day again until after Scriabin's death in 1916, when Scriabin’s student Elena Bekman-Scerbina gave what may well have been its public premiere in 1918.
By then, the final page of the slow movement had been torn off and lost. It was left to the performer (or possibly Leonid Sabaneyev) to reconstruct the missing page and since then even this version has been lost. The nature of Scriabin’s revision of the first movement gives us a clue as to the reasons why this sonata has remained neglected for so long. Scriabin’s relentless musical development suggests that by 1892, he was no longer interested in conventional classical forms. With its publication as the Allegro appassionato in 1894, the original sonata manuscript was forgotten.
Afterwards, the autograph was finally deposited in the Scriabin State Museum, where it languished until the third movement was published in 1947. Unaware that it had been separated from the other two movements, it was at first mistakenly identified as a Presto that Scriabin had performed in his debut recital at St Petersburg in 1895. (In fact, that Presto was in G-sharp minor, as stated in the programme, and would later reappear as part of his Sonate-fantaisie Op 19.) All three movements finally appeared in print in 1970. The autographs are devoid of movement titles, dynamic or tempo markings. There are also missing time signatures, accidentals and, most unfortunately, the last page of the second movement breaks off less than two bars into the final statement of the opening theme. Luckily we have the first five beats of this final statement, which show us how Scriabin intended the theme to be embellished.
The first movement is written in sonata form. It begins with an agitated and rhythmic main theme in E-flat minor, replete with the driving triplets and the melody resounding in the lowest register of the piano. An ascending transition leads to a lyrical and cantabile second theme in G-flat major, unfolding with great yearning. A fast variation of the melody leads to a repeat of the exposition. The ensuing development opens with ominous chords from the bass, before the material is fragmented and transformed in a highly virtuosic and dramatic fashion alla Liszt. A presto climax leads to the accelerated recapitulation of the themes; the first in the home of E-flat minor but the second in B-flat major. A dramatic return to the main theme ends the allegro with a severe E-flat minor chords. Two pedal notes provide a kind of transition to the next part, even if there is no attacca marking.
The second movement is structured in an expanded ternary form (A-B-A'-B'-A''). It opens with a lyrical and contemplative main theme in E major, reminiscent of Chopin. The music becomes more expressive as the material unfolds and modulates through multiple keys. Then a second theme in form of a sombre, almost funereal march is introduced in a minor key, which seems to anticipate Scriabin's first numbered piano sonata. The main theme is then recapitulated in a varied way, followed by the second one in a more elegant and delicate interpretation. A final recapitulation of the main material then leads to a rather fragmented coda that seems to link with the next part, even though again there is no attacca marking.
The third movement is rather free in form, resembling a rondo. It begins with a rhythmic and stormy main theme in E-flat minor, contrasted by a more playful second one in a major key. Then a passionate and heavy third theme is presented, leading to a powerful climax in B major. The main theme is recapitulated, which in turns leads to another climax in E-flat minor. The third theme is then briefly recapitulated, followed by a false-start repeat of the main theme. Then suddenly, a slow and substantial coda begins, ending the sonata with a funereal and tragic series of chords, with neither redemption nor move towards a major key.
Picture: "Twilight" (1889) by Russian painter Apollinary Vasnetsov.
Musical analysis partially written by myself. Sources: tinyurl.com/25ls8edz and tinyurl.com/28jemuzs
To check the score: tinyurl.com/263flh94
