Scriabin is a Russian pianist and composer who was active from the late 19th century to the early 20th century. Influenced by the theory on superman and theosophy by Nietzsche, Scriabin wasn’t a member of any existing music schools but created his own unique composing method of the mystic chords. Th...
Scriabin is a Russian pianist and composer who was active from the late 19th century to the early 20th century. Influenced by the theory on superman and theosophy by Nietzsche, Scriabin wasn’t a member of any existing music schools but created his own unique composing method of the mystic chords. The personality of his works is well shown in the 10 piano sonatas of his. This paper analyzes Sonata No.2 in particular, which is one of his early works. His early works often use the musical language used by Chopin and do not deviate much from the basic system of major and minor keys. However, the second piano sonata is significantly different from the first in its composition. It is not simply a rendition of the musical styles of the late Romantic period but shows hints of what is to come in the future of music, as well as the composer’s uniqueness. Sonata No.2 consists of two movements, both in g# minor. The first movement, in Andante is in the structure of a sonata. The key is ambiguous due to the enharmonic modulation. The first and second themes are varied, repeated, shortened in sequence and using imitation. In terms of rhythm, 2:3, 5:9 and 5:12 rhythms are intersected, and the cross-bar rhythms appear to expand the range of expression while giving an ambiguous feel to what the rhythm is. The first theme is varied and repeated throughout the first movement to give uniformity. The second theme shows the influence of Chopin through its arpeggio and the melody of the upper vocal chords. In terms of chords, the first theme composes of a major chord where the third note is omitted, which leads to a reduced feeling for the key but the sustained notes emphasize the notes that form the center. When the introduction ends, it does not return to the beginning to repeat but goes straight to the development part. In addition, the second theme of the recapitulation part does not progress in a major key that is the same as in the first theme of the introduction. In this sonata, it is in the key of E Major. These are all characteristics that set the piece apart from classical sonatas. The second movement consists of three parts in the tempo of Presto. Triplet notes appear throughout the movement giving it a dynamic feel. The horn call that uses the resonation of keys in the left hand makes a frequent appearance. The major notes of the first movement are used to give the two movements a sense of unity. Ostinati and a complex rhythm of 4:6 are repeated, while the different dynamics give contrast throughout the piece. Enharmonically equivalent notes are used for a natural transition of keys. While the atmospheres in the first and second movements are in contrast to each other, it is as if the open ending of the first movement is closed in the second movement. This gives an overall sense of connectedness. Both movements are linked through the use of three beats and keys. The first theme is in a circular structure to give a sense of unity, while the use of horn call adds a mystical feel. As seen above, Scriabin was an important composer in the modern classical music of early 20th century, who applied his own unique music language that reflected theosophy and mysticism.
Scriabin is a Russian pianist and composer who was active from the late 19th century to the early 20th century. Influenced by the theory on superman and theosophy by Nietzsche, Scriabin wasn’t a member of any existing music schools but created his own unique composing method of the mystic chords. The personality of his works is well shown in the 10 piano sonatas of his. This paper analyzes Sonata No.2 in particular, which is one of his early works. His early works often use the musical language used by Chopin and do not deviate much from the basic system of major and minor keys. However, the second piano sonata is significantly different from the first in its composition. It is not simply a rendition of the musical styles of the late Romantic period but shows hints of what is to come in the future of music, as well as the composer’s uniqueness. Sonata No.2 consists of two movements, both in g# minor. The first movement, in Andante is in the structure of a sonata. The key is ambiguous due to the enharmonic modulation. The first and second themes are varied, repeated, shortened in sequence and using imitation. In terms of rhythm, 2:3, 5:9 and 5:12 rhythms are intersected, and the cross-bar rhythms appear to expand the range of expression while giving an ambiguous feel to what the rhythm is. The first theme is varied and repeated throughout the first movement to give uniformity. The second theme shows the influence of Chopin through its arpeggio and the melody of the upper vocal chords. In terms of chords, the first theme composes of a major chord where the third note is omitted, which leads to a reduced feeling for the key but the sustained notes emphasize the notes that form the center. When the introduction ends, it does not return to the beginning to repeat but goes straight to the development part. In addition, the second theme of the recapitulation part does not progress in a major key that is the same as in the first theme of the introduction. In this sonata, it is in the key of E Major. These are all characteristics that set the piece apart from classical sonatas. The second movement consists of three parts in the tempo of Presto. Triplet notes appear throughout the movement giving it a dynamic feel. The horn call that uses the resonation of keys in the left hand makes a frequent appearance. The major notes of the first movement are used to give the two movements a sense of unity. Ostinati and a complex rhythm of 4:6 are repeated, while the different dynamics give contrast throughout the piece. Enharmonically equivalent notes are used for a natural transition of keys. While the atmospheres in the first and second movements are in contrast to each other, it is as if the open ending of the first movement is closed in the second movement. This gives an overall sense of connectedness. Both movements are linked through the use of three beats and keys. The first theme is in a circular structure to give a sense of unity, while the use of horn call adds a mystical feel. As seen above, Scriabin was an important composer in the modern classical music of early 20th century, who applied his own unique music language that reflected theosophy and mysticism.
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