Scriabin

Sonata-Fantasie No. 2, Op. 28
Having accidentally listened to sonatas 5 and 9 before this one, I must admit several interesting realizations.

1)This does not sound more like a fantasy than the two sonatas, which are not labeled as fantasies.
2)The harmonies are easier to classify as post romantic. However the form, because this is a fantasy, is no easier to follow than the other two sonatas on our list.

I gather from all that I have heard, combined with my own research on the etudes, that Scriabin was very much concerned with being as different from his contemporaries and predecessors as possible. It is evident that in this piece the composer is still operating with the inherited tools of his hero Chopin. One can hear in the music that Scriabin’s desire for new and innovative textures will eventually guide him into his own unique style.

Sonata No. 5, Op. 53
Elements of this sonata sound highly impressionistic. The swiftly changing rhythms add to this feeling, almost making this work more of an improvisatory form than a sonata. It is interesting to glance over the score before listening to a section, only to find that the notation appears fairly confined while the music sounds limitless in its expression and technique. The harmonies which Scriabin finds in his slow passages are truly mystical, as his biography would suggest he were aspiring to. It is interesting to think that out of three contemporary Russian composers (Stravinsky, Prokofiev, and Scriabin) each has their own distinct sound that makes them easily identifiable. Scriabin is obviously a master of taking contemporary harmonies and weaving them into something beautiful. I would imagine that even the average listener, one who is not experienced at all in classical music, would find enjoyment in listening to this work.

Sonata No. 9, Op. 68
The layering of timbres and motivic elements in the opening of this sonata is quite unbelievable in terms of compositional craftsmanship. To be completely honest, having never played any Scriabin, I am having an extremely difficult time following any recognizable element of these sonatas. The overall structure doesn’t help, being that it is in one movement with sudden and unexpected changes in texture and speed. Also it is becoming apparent to me that Scriabin was more interested in the creation of color and atmosphere than any recognizable or “singable” melodies. Thinking on who Scriabin was, it seems to me that this music is intended more for the enlightenment of the soul than for enjoyment purposes. Scriabin said of himself that he was the “weaver of a heavenly harmony”, meaning that this music is intended in an almost prophetic way.