MOTIVIC/THEMATIC DEVELOPMENT

IN THE PIANO WORKS OF

ALEXANDER SCRIABIN

,Phillipa Candy

Document submitted to the Conservatorium of Music, University of Tasmania,. in 'partial fulfilment of the requirements for the degree of Master of Music.

:.December, 1984 i

TABLE OF CONTENTS

Declaration i v

'Abstract

Objectives vi i

• Background

The Musical Language: Definitives (Developments in the current musical language) and..trendi 1

Scriabih's Harmonic System 20

Analysis

The Early Works

.Introduction 32

. .Analysis 34

.The Opus 11 Preludes 40

. .Comparison and Trends in the' . Opus 11' Preludes - 43

The Fifth Sonata, Op'.53

.Introduction =15

.Subject Material Figures 46

•Outline: Formal Construction • -50

.Additional Notes on the Subject Areas 77

.:Summary:.Outline- • 82

•.Use of the Rhythmic Parameter in the Fifth Sonata 84

•R17thmic. Material -.89

• - -Thematic Transformation and the Fifth. Sonata 92

.Reduction Analysis • 100

• .Chart: Reduction Analysis 110

..Evolvement into his later harmonic code • 126

"Nuances", Op.56 No.3 • •

.Introduction 130'

• .Analysis 130

•RhythMic Basis: "Nuances" • 134 iii

The Ninth Sonata Op.68

Overview. 135'

• Compositional Bases 139

, Adherence to - the "Code" 142

• "Subject" Groupings 145

• MotivesandJDerivatiOns' 147 -

Use .of minor ninth structure 149

• 0se of ',dominant! Structure 150

• Alternating 'dominant'/minor ninth structures 151

• Three-note motive use

Rhythmic variations in the oscillating semitonr

Use of the opening bar

Conclusion

Bibliography . iv

This thesis contains no material which has been accepted for the award of any higher degree or graduate diploma in any university and that., to the best of my knowledge and belief, the thesis contains no material previously published, or written by another person.; except when due reference is made in the text. .

P. Candy ABSTRACT

Scriebin is important as a-key representative of one particular culmination point in tonal expansion.. Although he was one of the first composers of the twentieth century to free tonal relationships between chords and scales, his "system" nevertheless developed out of extending. the traditional parameters functioning and governing harmony.and melody.

The system he formulated involved compression of harmony and melody to a single entity. As his code evolved, his compositional style gradually altered to 'accommodate increasing experimentation and subsequentr .mestery of the melodic and harmonic parameters.

The direct result is that the motivic and thematic elements within his Compositionel style whether they be related to melody, harmony, or rhythm, are subjugated to.a strict disciplinary method of control. Further, this control, of two former parameters by -a single ."all-encompassing"

.replacement resulted in an increasingly, independent and distinct role of the-rhythmic parameter.

The materials Scriabin:used to develop his ideas were the traditional forms and constructional techniques employing the nineteenth-century harmonic language. Major, minor, augmented and diminished chords, ell'forms.of sevenths; ninths, elevenths and thirteenths, chromatic harmony such as

Neapolitan and augmented sixths, were jUst:someof the harmonic elements that Scriabin. could manipulate. -Constructional techniques such as augmentation, diminution,' retrograde, inversion, and canon were employed.

The trend towards 'formerlydissonant chords being accordedrconsonant status by reasons of their regularity and usage was furthered'by Scriabin. All in all, his (later) compositions were logical extensions of his exploitation and expansion of traditional nineteenth-century compositional procedures.

As a result, discussion of his harmonic system, is of paramount importance to the analysis. Two distinguished Russian theorists, v i

Boleslav Yavorsky'and•Uarvara - Dernova were responsible for codifying

Scriabin's Self-imposed.music language. - The starting point taken is

from Scriabin's own words.:

' "'I write in strict style .... There's nothing by accident

write according to definite principle", 1

an :

'Melody' is harmony unfurled ...- Harmony. is furled melody. ' " 2

The works discussed represent each compositional "period", The-early

Preludes'Op.11 number's 1-6, surrender to •raditional.harmonic analysis. Two

middle period or pivotal works -, the Scriabin Sonata No.5, Op.53, and

"Nuances" Op,56'No.2 are highly experimental and undergo What is possible,

though incomplete in any.single facet in traditional.harmonit and melodic,

•reduction analysis and Dernova systems of reference. Lastly,'-the Sonata

•No-.9, Op.68 - succumbsto the Dernova.code.

This' thesis has been divided into two main areas:. that of background,

and that of analysis.

• As Scriabin placed importance on the nextion that melody and.harmony

were different perspectives of a single parameter in time, , then the analytical

methods which exploit the relationship between harmony and melody should

•apply.

1 Faubion Bowers, - The New Scriabin : Enigma and Answers (Newton Abbot, .Devon: David and Charles, 1974), p.128.

2'Ibid., p.147. • vii

OBJECTIVES

Scriabin has long remained - and still is, in many ways - an enigma.

There were many attempts to categorise his compositional style throughout

and beyond his lifetime, to-1948. The attempts failed, due to the analyses

limiting and linking his compositional life to a single stylistic period,

• not to a : stylistic . outcome. He expanded both nineteenth-century tonality

.. and forms, and outgrew the clearly delineated .parametrical functions

governing harmony and melody.

What emerges is aAnultiplicity Of objectives in order to effectively

research the two specific- areas of motivic and thematic development in

selected piano works of Alexander Scriabin. The background features and

trendsAn.musical language available to Scriabin must be identified,

discussed, and analysed - in order to pinpoint the first Signs of-the

.stylistic changes. . The subsequent. effects on formal construction must be

fully investigated and realised in the light of Scriabin's achievements.

A precis of the code is included to help comprehend the implications of

Scriabin's compositional process. To summarise: then in this research

project there-are tour specific objectives: .

- Firstly, it is necessary to define and test in selected works the

. codification - of musical language evolved by Scriabin as identified by

Boleslav Yavorsky and Uarvara Dernova. In addition, the way in which

his code evolved and was _applied from contemporary knowledge of. resources

will be traced and described.

Secondly, in the context of the evolution of his musical language,

Scriabin's specific harmonic perceptions will be investigated in terms of

motivic and thematic elements. viii

;Thirdly, - a.comparatiVe analysis-ofhis experimentation with and

• evolution of compositional choices will be undertaken. This Will take

..into account the impact of contemporary resources on Scriabin's compositional

. procedures.

The,final objective in the research will be to demonstrate that the

inter-relationships of compositional controls and subsequent forms and

.:idioms are essentially an extension of musical logic in . the- Works of Scriabin.

THE MUSICAL LANGUAGE : DEFINITIVES (DEVELOPMENTS IN THE. CURRENT MUSICAL LANGUAGE) AND TRENDS

BACKGROUND

The term tonality was believed to have been coined by a Belgian

musicologist/composer called Joseph Fetis, around the mid-nineteenth

century. 1 It..was defined as a musical group ... conceived ... and 2 .:derived-from, a central tonic fundament This was understood

to be one note, the tonic.

The tonic could be treated vertically or horizontally. Vertically,

by combining the tonic with its close overtones, it would become a chord,. 3 or a harmony. -GI 44- XL ■■ ■■ — eic ■■ ■■ ■■ -firodeldic,dio

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:Horizontally', -the working for.the tonic stemmed - from the relationship of 4 the tonic to 'its overtones in the harmonicseries. Thus classical 5 tonality.is centred in the overtone system, -and the basis of classical

harmony lies in arrangement . of the close overtones to form . a triad.

This -triad is' the basic unit of the . classical system.

Two modes of triads are used in claSsical harmony, the major and the 6. minor triad . Both triads found in the harmonic series occur close to the -

tonic, and make up notes of.the diatonic scale. It is seen.that . the major

triad 'is more closely related acoustically to the fundamental.

1 Rudolph Reti, Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music (London: Rockliff, 1958), P- 7 - 2 Ibid. 3 Ibid., p.8. 4 Ibid., p.9. 5 Ibid., p.13. 6 William Dunwell, Evolution of Twentieth-Century Harmony (London: Novello, 1960), p.15. 2

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Alsb included is the presence of the diminished triad, composed of two

successive minor thirds, and it is vital as one pivot in. theexpansion of

tonality. This chord will be. discussed later.

- Thus the bases of the classical system are major and minor triads.

The resultant chords are built-and extended in thirds, and -the subsequent

scales are from two modes, major and minor .. Features characteristic of

their usage in the classical system are: the relationship between chords,

, the method of chord-building, and especially the qualities of that melody 7 determined by that chord systeM.

....In its most fully realized form classical tonality may be

distinguished by its use of two modes only, each of them transposable

to any pitch' level, and by its total clarification of the relationship

existing between pitches grouped around a single . tonic ... 118 '

The first additions or changes to the basic material were by decoration,

either of a.chord or of the melody. Extra notes, not necessarily related

to the harmony or melody, were added as. supplementary to the diatonic scales,

• or to the chord unit. .Their purpose lay in decoration of the structural .

.basis, and in extension of the tension factor in tension-repose principle

in music. Once this function began to modify the melodic and chordal

basis and usurp its traditional functioning, the.breakdown of the concept

of (absolute) classical harmony was already in process.

7 Dunwell, Evolution ..., pp.15-19; 8 Jim Samson, Music in Transition: A Study of Tonal Expansion and Atonality 1900-1920 CLondon: Dent, 1977), p.2. "The expansion of. classical tonality in the nineteenth century was a

result of several related developments, the most important of which

was an increasing emphasis on chromatic elements, extending the range

of classical tonal functions, and a decreasing structural dependence

on tonal regions which wouldsupport the central tonality." 9

• For analysis, the grammatical . areas - or chords.- and then the changes in function will be discussed. The primary source for the first area is

•Dunwell, in his Evolution of 20th Century Harmony- He traces the evolution of Change Of chords and shows the process undergone and purpose pursued by

:composers of that time.

The first.points of departure are the intervals of perfect fourths and perfect'fifths.in relation to triads The fifth exists in root position, the fourth in first Or second,inversion; of a triad.

Academic status of a fourth

Piksr SECCAJD /COOT ""Gs cl /A/VE.2510A/ 141 VC:4510,1J in classical harmony is concordant between any two Upper parts, but ,10 discordant between any upper parts and theloass.' When the third of the triad was omitted, a new prominence was given 'tothe fourth and fifth.

This recalled the period in Western music where the ,fourth was concordant; and the fourth-only,became :indeterminate after thirds and sixths became concordant. 11 The implication eventually led to the use of parallelism, where the melodic shape and harmonic colour arise from the cultivation ,,l2 of a particular interval In the addition of chord-building by thirds where the pianistic developments of Chopin and Liszt prevail, there was a leaning to a more continual use of higher dissonances.

.9 Samson, Transition p.3. 10 Dunwell, Evolution ..., p.21. 11 Ibid. 12 Ibid., p.22. 4

'"The 'emancipation of the dissonance' was itself an important aspect

of declining tonality ... As the earbecomes more acclimatized to a

sonority within a particular context, the sonority will gradually 13 become emancipated from that context and will seek a new one.

The fourth also acts as a thematic and/or harmonic device as a natural

result of the harmonic system. .

• Dunwell also looks at the implications of the Use of the perfect fifth

interval:. "there is a.special assertiveness in the character of the fifth

interval itself which militates against a chordal blend, except in association

With the third as a triad ... it also has strong acoustical reinforcement of

Its lowest note as.e . root ... latent bitonal possibilities emerge ..."

Seconds,.:sixths and sevenths are next dealt with. Seconds were popular

• for colouristic effects and for blurring the harmonic outlines. Their uses 15 • as decoration led to greater flexibility in chord relations; and were one"of

the first of the more distant.in the harmonic series, - in its major form;

be given concordant status.

Sixths were not as common as seconds as they were more - unwieldy in

usage. Their main form seen is in inversion, that is, of inverting a third.

Sevenths were also less common. But major second and minor seventh chords,

inversions of each other, became more neutral as harmony expanded, linking

concords with chords of greater discord, such as minor seconds and major 6 sevenths 1 These "greater" discords were acceptable in classical harmony

provided they fulfilled the idea that they were temporary departures from

the norm. Once emphasis lay on the fact that they were discords - in other

words, a distortion had occurred - then expansion of the harmonic vocabulary 17 was in evidence.

13 Samson, Transition ..., p.146. 14 Dunwell, Evolution ..., p.189. 15 Ibid., p.39. 16 Ibid., p.178. 17 Ibid., p.31. , The use of the augmented fifth chord and its implications is next in

line. . Although present in music of Purcell andOrlando Gibbons it had

acquired no individual integral function within the later classical period.

It re-emerges in Debussy and Liszt where its scalar relation, the whole-

. tone scale takes place. Major intervals are used exclusively:

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Dunwell maintains that augmented or whole-tone chords arise easily -

as chromatic alterations of traditional chords,. governed by the customary

root relations or by the contrapuntal movement of...parts, they may be ,18 produced by decoration, orbe themselves.decorated.'

From the grammatical Units, let us proceed to the next stage, that of

the development of, andfrom, - melody. In the classical period melody

and melodic features had to be explicable as outlinings or

decorations of their essentialstructural.tore.' The melody would weave

.around the central harmonic unit of classical tonality, the major triad, and

the fundamental harmonic progression

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'belong to a tonality.

Dunwell postulates that three events occur asa result of decorating

a melody:

"Firstly the traditional practice of relating melodic lines to a

preconceived chord progression is continued, but with increasing

complexity and discord, and -with increased freedom of melody from

18 Dunwell, Evolution ..., p.31. 19 Ibid., p.17. obvious harmonic association. - Secondly', the modern preoccupation

with the intrinsic interest of sound leads- to:a cultivation of groups

which originate from decorative processes but acquire a separate

character of their own.: They become established either as new self-

subsisting . chord shapes or are exploited in temporary empirical

'combinations for their own quality and sonority. Thirdly., in its .

horizontal aspect, decoration initiates part-movements -which themselves

produce. the basic harmony and control the progression from chord to 20 chord."

So what happenedto melody in the horizontal.formwaswhat happened to

:the harmony . . Extra notes were added, firstly for colour or interest, and

'then:they acquired further independence to gradually contain their own

structure. Juxtapositions of chords or notes not closely related to the

overall harmonic progression, led to the Widening Use of previously

discordant brA.ess.closely.related.notes:to the whole as concordant.

These additions of notes led to the Processes of increasing chromaticism,

And usage of counterpoint, the latter having been pushed into the background

in the classical period. The other.main.influence was the re-emergence of

.-folksong music as a viable alternative.'

Increased chromaticism led to increased harmonic complexity( and

extended decoration of a single harmony added this facet:

'"Decorative.devices absorbed into such texture may have little connexion

with basic harmony notes they may ultimately resolve, but at a

different pitch, or at a later stage after other notes have intervened.u 21

Also the shape . of the figure maintained and imposed on the harmony ...

"by varying the relation of figuration to its 'basic harmony and including ”22 .decoration as'part of a flexible texture ••• (Cross.-rhythms can be

20. Dunwell, Evolution ..., p.47. 21 Ibid., p.50. 22 rbid., p.51. gained .by this method as well.) Other Ways to maintain the figure's

shape are-by pedal notes and pedal chords, and by simultaneous decoration

of more than one note of a chord, which could lead to bitonal effects. 23

This increasing emphasis on chromatic elements led to "extending the

. range of classical tonal functions, and a decreasing structural

dependence. on tonal regions which would support the central tonality

. . already in some works by Chopin chromatic harmony has been

developed as a more thorough-going alternative to diatonic progressions, -„. establishing an. equilibrium of chromatic and diatonic material. 24

'Nevertheless, the chromatic harmonies are still contained within a tonal,

-cadential structure, and prolong the work.

. An attempt to define chords in relation to - whether, they belonged to an

harmonic progression or were products: of voice leading was postulated by 25 Felix SalZer in his book Structural Hearing: Tonal - Coherence'in Music.

He pays homage to Heinrich Schenker, the German theoretician who recognised that chords had dual significance, that of grammatical and functional purposes. The chords are termed harmonic chords when they are connected 26 On the basis of -a. harmonic associated.

• "On the other hand, all chords not based on harmonic association are

products of directiOn and embellishment and, paradoxical as-it may

sound, have a.horizontal'tendency. They result from the motion of

voices since they are generated: by voice leading and voice -direction

and will be.called contrapuntal chords, in contrast to chords of

harmonic- origin.

To conclude ... the harmonic chords are also structural chords,

constituting the structural framework; the contrapuntal chords, on

23 Dunwell,. Evolution ,.., p.51. 24 Samson, Transition ..., p.3. 25 Felix Selzer, Structural Hearing: Tonal Coherence in Music (New York: Boni, 1952), p.15. 26 Ibid. 8.

the other hand,.are simultaneously chords of prolongation,: because

they prolong and elaborate the spacebetween members of the harmonic 2 progression." 7

Salzer maintains that chords of prolongation are an organising force in

composition because of their "power to subordinate tones and chords in order

to extend a single cord in time." 28 He asserts that his coined "structural

hearing" is arguably more accurate than'theterm modulation, because

."modulation is based on the self-contradictory conception of departing from 29 a key while remaining within a key ..." His structural hearing form of

analysis "... proves thata piece with the key 'signature of B minor is

really in B minor only; because that key accounts for every chord,with or

-without its prolongation, as an integral part of-a.musical organisation 30 • defining one key." This is one method of coming to terms with the

:expansion of harmony, and therefore harmonic tonality.

The increase of. counterpoint is a vital -influence to the exPansion of

tonality: .

"The first, preVailingly contrapuntal phase was one in which strands

of melody were'So combined that each line of the texture preserved its

. individuality and yet maintained a Certain degreeof basic concord.

with the other lines. This degree of concord corresponded to . that

existing .among the first six notes of' the series. In the

succeeding 'harmonic' phase there developed.a . more - direct consciousness

of the vertical'combinations.as units analysable apart from the

horizontal lines ofwhich they formed the cross-sections. Inboth

phases the basic idea was that of a texture in depth, a filling in of

the space-between an upper and lower line of melody, a treble and a 31 bass."

27.Salzer, Structural Hearing ..., p.15. 28 Ibid.,- p.17. . 29 Ibid., p.21. 30 , Ibid. 31 Dunwell, Evolution -. , pp.82-87. 9

The Y increase of counterpoint was one of the most important contributions

- to the expansion of tonality, via chromaticism. In thesource Counterpoint, 32- by Salzer and Schachter, the possibilities of Contrapuntal usage are

explored. They maintain that opposing view: counterpoint leads to harmonic

analysis. They re-evaluate the place of counternoint in all periods of

music from the Baroque period on; and show how it is. usedas a form of

prolongation.

-Firstly, through unfolding two lines of music, they can become a single

polyphonic line:

Registers can also be manipulated,

voices interchanged, and inner-Voice tones can be superimposed.

Secondly, counterpoint within prolonged chords is demonstrated-:

prolonged Chords define the tonal space within - which melodic lines

move;: they form a stable background- that gives guidance and direction

to the details of melody. And, conversely, melodic lines provide the

kinetic impulse through - which chords can be extended in time. .33

Thirdly, , the evolution of, dissonance- is traced:

"A simple but important development of dissonance - is the skipped

.passing.tone - the:use off-a single passing .tone, rather than two -

.within-the interval of the fourth

e.g.

32 Felix Selzer and Carl Schachter, Counterpoint in Composition: the Study of Voice-leading (New York: McGraw-Hill, 1969). 33 Ibid., p.174. 10

Another simple manipulation of dissonance brings about the various

,types of incomplete neighbouring. note ... In composition, dissonances

' frequently occur in a note-against-note setting. Such dissonances

often result from the contraction of a passing motion; the initial 34 tone of the motion is omitted. An important compositional use of

contraction produces an interval succession of perfect fifth - diminished

fifth - , (major) third." 35

Harmonic influences on voice leading are called harmonic prolongations.

TheY,". act directly Upon details of voice leading; and only indirectly • ( u 36 upon the'broad contrapuntal flow.. . One way is using applied dominant 37 chords which relate' to non-tonic chords. The "... other widely used harmonic 'technique is a series of descending fifths in the bass, of course

the fifths can be expressed as fourths,'ascending or descending.

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- Note,that, o the ear, this bass technique also helps define the lowest note of the series of fifths as the 'root of the• chord. This is despite its horizontal nature compared to the vertical: nature of a fifth interval.

The effect' ofcontrapuntal - leading-tone chords is also examined in relation to the chromaticism - it generates. The chromatic alteration influences and is influenced by its usage, as follows:

34 ,Salzer and.Schachter, Counterpoint, p.178. 35 Ibid., p.184. • 36-Ibid., p.200. •37 Ibid. 38 Ibid., p.206. • ."Applied dominant chords generally require the use of chromatically

altered tones, and series of ascending and descending fifths often

do so. Chromaticism, however, is by no means always associated with

the expression of harmonic relationships; it frequently grows out of

purely contrapuntal usages. Most chromatically altered tones fall

into two categories: inflection and substitution. A tone is

chromatically inflected if it precedes or follows the diatonic form

• of' the scale step bearing the same letter. name A tone is a chromatic

substitution. it replaces the normal diatonic tone with the same

letter name ... .39

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An effect of chromatic alteration is "... chords ... function as a contrapuntal equivalent of the, applied dominant ... "•' Also: "Chromaticism often arises out of the mixture of modes, that is, the use in a .single context of elements from the two modes — major and minor - centering on a given tonic. "41

Salzer and Schachter then examine voice leading or counterpoint in historical perspective. They show the prolongations which occur in works from Bach to early Twentieth Century works.

"The importantconsecruence.of this contrapuntal independence is that

the tensions and relaxations which . propel the phrase are often achieved

by means of dissonance/consonance relationships Within a contrapuntal

.texture rather than through tonal-harmonic progressions which possess "42 independent, on-going properties.

Now let us examine some changes to form, and organisational procedures of that form as a result of the expansion of acceptable meaning and logic

39 Salzer and Schachter, Counterpoint, p.210. 40 Ibid., p.211. 41 Ibid., p.215. •42 Samson, Transition ..., p.15. 12

for the nineteenth century harmonic vocabulary. As in the discussion

before, all processes are interrelated, and run consecutively, but trends

can be deduced by vivisection.

Firstly, the search for "expressiveness" in nineteenth century music

led to increasing chromaticism in the melodic lines and furthered the usage

of remote tonal regions. These remote tonal juxtapositions, for expressive,

rather than structural potentialities, undermined the central tonality'

strength.. . Also, the more remote .the juxtaposition and more extensive the

decoration, the more change would occur to the underlying harmonic rhythm

or rate; an important unifying procedure, especially in sonata form. The

. sonata depends on an already-established relationship between the tonic,

subdominant, dominant keys. and their relative minors for its progression

through events. But "... the traditional role of the tonic and dominant

regions as chief' agents of formal articulation and as bearers of the

principal thematic material ... was similarly usurped in 'the nineteenth

Century by more remote tonal' regions; undermining a central aspect of

sonata thinking ..',43

- Hence, as the expansion of tonality Was diluting the impact of the

sonata principle, as the example taken here of form, "new" unifying or .

- constructive principles had to be employed. Thematic usage and . inter-

pretation was re-evaluated. . Techniques found in Mozart "... irregular

phrase lengths, Irregular groupings within the phrase and the,rhythmic

contractions and expansions' of motives against a basic meter ..." were

absorbed by composers such as Brahm in his works. This was in contrast

to the prevailing absolutely regular phrasing of melody and meter of the

early nineteenth century compositions, subjugated to 'the purpose of express-

iveness, seen in works of Chopin, Schubert and Schumann. Brahms further

integrated thematic material by giving the harmony or accompaniment voices a 44 thematic as well as a harmonic function -..

43 Samson, Transition ..., p.8. 44 Ibid., p.14'. 13

The next stage lay in this rhetorical question: if a theme or motive -

could be used as an organising principle of constructing a single composition,

. would it be possible to use a single theme or motive for a complete work?

That is; is a complete sonata, with its three or four movements, able to be

Composed from.a single unifying idea, or theme? The technique of thematic

transformation emerged for this requirement to be satisfied. The first

example. wasSchubert's Wanderer Fantasy (1822) where the theme of the second

movement isthe source material for the rest of.the work, transformed through.

mode, rhythm, meter, and setting. The second example was the Liszt

. Sonata in B Minor (1852) where again, thematic transformation occurs. But

there are some important developments., Namely, the sonata is in a single

expanded. movement, and the unifying.themes.are transformation of. the opening

theme with a-diminished seventh, and use of minor thirds as follows. All

evolve out of four themes.

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Liszt's treatment of this work showed that H.... the sonata contributed

notably to achieve greater formal and thematic integration as tonality

exerted a diminishing unifying control on musical structure ...'Equally

Liszt's fusion of the separate movements of the traditional sonata into a

45 u - single expanded sonata for a movement acted as a model for ... later works ..-

45 Samson, Transition ..., pp.I5-16. 14

With the increase of chromaticism, and gradual breakdown of structural

- forms, the techniques of counterpoint were applied to the thematic process.

The reasons are that contrapuntal. techniques are less reliant on a tonal area

than traditional practices of melody and harmony and instead are used as a - 46 procedural guide.

Max Reger and.Busoni used counterpoint extensively as a unifying

feature. "There are already indications in some of Wagner's music that

contrapuntal interplay Was beginning to - dictate, rather than derive from,

the harmonic dimension, though forthe most part the latter remains H47 .predominant. The movement within a phrase by dissonance/consonance

relationships Of a contrapuntally-derived texture rather than an harmonic

- progression was an important consequence.

"The- gradually incurring infusion of chromatic elements in a diatonic

framework was common to a great deal of music composed around the turn

of the-century. In this respect. Wagner and Brahms were each important'

forerunners ... But theincreasing concentration of chromaticism within.

a single tonal region, an important feature of Brahms's.harmony in some

works, was ultimately an even more serious threat to tonality than

Wagner's 'enharmonic continuum' (Reger & Schoenberg) ... to discipline u48 an all-pervading chromaticism by thematic contrapuntal . means.

The revival-of-modality through folksong also aided.tonalexpansion

and breakdown of preconceived forms. A revival of the ancient-modes, which

contain a change within the mode of tension/relaxation to that of major/minor

forms, extended the purpose and function of chromaticism to prolong factors

in the harmonicrate. These ancient scales when divided would form augmented

or diminished passages, an important element in the ultimate breakdown.

Tonal regions were then contrasted rather than key relationships in traditional

46 Ian Spink, An Historical Approach to Musical Form (London: Bell, 1967), p.198. 47 Samson, Transition ..., p.14. 48 Ibid., p.143.

15

forms exploited. Modality also led to the use of whole-tone scales, and

- the use of parallelism.

The Russian nationalists were particularly adept in these areas,

avoiding resolving chords, using Church modes and constructed scales such as:

ST e.g. Octatonic scale

A ifdp -9- 49

Glinka, Rimsky-Korsakov,. Borodin, and especially Mussorgsky were

exponents of this style. Other' developments within the Russian area were

to retain the folk-inspired melody And change the harmonic background, and 50 the use of the.folk-rhythm in composition. Faure uses modality to

-:.undermine the tonic-dominant polarity. Busoni followed Liszt's-use of

semitonal movement as a principle of progression (in his Elegies), parallel

'chord movement, whole-tone material, minor structure and unfamiliar scalar

patterns.51 •

... tonality has been weakened by the unrestricted semitonal movement

chord members, by symmetrical harmonic, structures, and by contrapuntally

derived textures. Moreover the triad, tonality's closest ally has been

-virtually eclipsed as a fundamental harmonic unit by linear counterpoint and 52 extreme vertical dissonance. .

' Replacing the -rejected classical tonality, language required that the

parameters of melody and harmony be rethought in relation to a new significance 53 with the rhythmic,parameter. In Paris, the symboliSt'poets freed poetical

49 Samson, Transition ..., p.10. 50 Ibid., pp.10-12. 51 Ibid., pp.22-24. 52 Ibid., p.40. 53 Ibid., p.63. Satie was as experimental, as were Ravel, Da Falla, Ives, Ruggles, Cowell and Varese. [Samson's reference to his argument, pointing out these composers' contributions.] 16

language from precise meanings; Debussy freed an individual harmonic event .

from traditional tonal syntax.

• The preoccupation in the early 20th.Century was to thematically derive

textures and integrate thematic and harmonic processes. To relate the

vertical and horizontal dimensions anticipates serialism, and was pursued by

composers both in and out of Austro-Germany "... Particularly intriguing is

the 'way in,which Scriabin 'arrived at 'a unity of musicall.space by an

almost diametrically opposed route to that . of Schoenberg. • Where Schoenberg's

'total thematicism' led eventually to the serial method in which the note-row

generates harmonic as well as melodic material, Scriabin's development of

consistent dominant-quality harmonic 'areas' culminated in a harmonic system u54 in' which the basic 'chord' is also the source of thematic material.

Passages based oh principles of symmetry - on "notes equally related

among themselves" - such as uni-intervallic harmonic formations of the

augmented triad, the diminished 7th, and the whole tone scale, achieved more

prominenceend l separate function as part of the music structure. Decorative

in Chopin and Liszt, they gained independence in later Liszt, Debussy, Busoni, 55 .Bartok, Szymanowski and Scriabin.

The evolution of hyper-dissonances such as 7ths, 9ths, to eventual

harmonic status where resolution was delayed or omitted to their own 56 autonomy also contributed to the expansion and breakdown of tonality.

Debussy, Scriabin and Szymanowski stressed the whole-tone qualities of 7/3

unit, and Scriabin's tritonal transposition of the 7/3 was instrumental in 57 .developing his own harmonic process'. The changing 'status of the augmented

sixth was another example.

54 *Samson, Transition ..., p.144. 55 Ibid., p.145. 56 Ibid., p.146. 57 Ibid., p.147. 17

The most crucial Change is the way in Which .thetritone was used.

'This- interval divides the octave exactly in half. In classical music a

tritohe interval was always treated-as an incomplete idea and was resolved

inwards to a third or outwards to a sixth, both consonances. Melodically

the same resolutions occurred. But, as tonality expanded and more of the

higher dissonances were achieving concordancy, the tritone began to be

deliberately exploited as an expressive element.- Resolutions could be

delayed, or omitted,_ or by parallelism a series of tritones such as descending

diminished sevenths could occur. This interval is vital to the breakdown

' of tonality, and is itself one of the units in which Scriabin developed his

'alternative system.

Definitions of motive and theme, and relevant abbreviations used in this

thesis follow. 18

DEFINITIONS

Motive: the smallest unit of musical form. It can be as short as

two notes, and is rarely longer than six notes, It can be based

on either a clear rhythmic pattern and/or a pitch pattern.

The pitch pattern can be either an harmonic pattern and/or a

.melodic outline., These facets are interchangeable and may or

may not be mutually exclusive.

.Theme:' a pie-de - of. musical material in 'a complete, self-contained form.

.It. has its own shape, contour, and ideas, and is used in

•composition for the purpose of development, elaboration, or

variation. It is more extended than a motive, of which it may

• contain several, and of different kinds, and longer than a

subject. 1 9

ABBREVIATIONS

Intervals:

1. , Description of the kinds of intervals are as follows:

Major

Minor

• Perfect.

Augmented - A or Aug.

Diminished - d or dim.

Neapolitan

Tone

Semitone st

2. Intervallic distances are notated two ways

(a) With the complete degree given when the description is absent:

e.g. fourth - 4th

(b) with.or without the complete-degree given when the description.

is present:

e.g. Augmented fourth - Aug. 4th, or

- Aug. 4, or

- A4.

These choices are interchangeable..

Bar Numbers

Bars of music are written in Arabic numerals and enclosed by brackets.

The number of the bars is taken from the first complete bar of music being accorded bar 1.

e.g. bars. three to nineteen - [3-19]

Figure - Fig. SCRIABIN'S HARMONIC SYSTEM

The evolution of-Scriabin's harmonic system led to his systemisation

of the pitch parameter; control of the lateral andvertical aspects by a

single organisational principle of pitch relationships helped influence his

development of thematic and motivic compositional procedures; they became

more cohesive in application. .

This addendum is taken from Chapter Eight: Harmonic System of:

Bowers, FaubiOn, The New Scriabin: Enigma and Answers. (London: David and

Charles, 1974) , pp .146-171 .

• There were two musicologists responsible for deciphering Scriabin's

harmonic code. The first, BoleSlev Yavotsky, a contemporary of Scriabin,

postulated his analyses of the principles behind Scriabin's system into a

. concept called Modal Rhythm, where 'rhythm' refers in the tonal sense to

unstable tones: moving towards stable tones. 1 The '!unstable tones" are 2 tritone intervals . . -

The tritones.resolve to major thirds, as stable intervals. Yavorsky

used this factor, and linked two series of tritones: the first at a minor

third apart,• the second at 'a major third's distance.

The unstable tones are blackened;' stable. ones are open.

. tritones.separated by a minor .third.

tritones separated by a major third.

Now Yavorsky forms two scales using the major third/minor third links.

He joins two sequences of consecutive major or minor third patterns by

beginning the second sequential .pattern on the inversion of the initial bass

ttitone of the first sequence:

1 Bowers ,:The New Scriabin ... p.140. 2 Ibid., p.151.

21

The stable and unstable tones are linked to form separate scales.

Frevn /.

64) h lc)) leorin ituo pecilernx :

a Ira 114, 0 o I "T ) 013 fyi3 • } 7- I sid ( 48 ) (g, ,) (Si)

An GI Her. n a f: SC/11i 740 e--40 n a dim- ifiLrThed 4J CaIE : cal/e 40 LtL18 - de.40 scri 1

400) 22

(and the resolutions from 1. form a double-step scale.)

1 • Double - slap I 01' liernahn3 hal-f - ione an d hide - Lone SLO/E • sf t

memomprimww.n.

From this double-step scale, the starting point of Scriabin's new

. system was formulated, and was the basis for the Sixth Sonata. 3

The unstable tones from the second sequence are the germinal material

for the continuation of the analysis. of Scriabin's harmonic code, by the

second musicologist, Dernova. Dernova combines the first two tritones to

-form a chord.-

In traditional harmony the chord structure resembles a dominant seventh, 1).- 7 but the fifth is flattened. It is termed therefore V , in comparison

to the dominant seventh, as V 7

By respelling the same chord enharmonically, Dernova establishes the

existence of the chord in two tonalities simultaneously. _ • -

is an altered dominant in C, in root position. When respelled,

it becomes simultaneously an altered dominant in G, in 2nd

inversion.

3 Bowers, p.153. 23

. imv.ankwfol.wriaro.ANN xst:- tie •Z• the altered dominant in G b. r/1111■=411111M.111111111111111111PIPIPII 0;fl• =FA •■ -../ WtPlargifte.L-sy11■1111=t a alve.rscn i 0 sec-cvud_ _ The converse is also true.

the altered dominant in a s cand ver-slo n 0 10

Dernova designates the first chord as the initiator, and calls it the

Departure Dominant.

is the-Departure Dominant, or Da Of, C.

•Thus the second chord, the respelled first chord she calls the.Derived

Dominant.

• which in turn, put into root position, allate' 1111W Mil PM 1:k! Olc.1174-1114rIdr P1 'I - r becomes the Derived Dominant, or Db.

is the Derived Dominant of C.

On further examination this Derived Dominant also exists as the Departure

Dominant of G ' . Hence Yavorsky's Dual Modality theory is proved..

More of the unstable notes are added to the chord structure from the second sequence. Dernova adds the unstable note which Will become the major ninth in traditional harmony to the Departure Dominant, and respells it enharmonically.

24

• mmovelismsailtawn Nri /a ■ --mnsizniropr•im. awssyrams Mlfai:?.E=rtillIM.111•7114•Tii14.111102701MIIIIIIIIIIMP2 '4170:011/M/E:411WMAKONIMININv

-Yavorsky termed 'the raised and lowered fifths "split fifths" to describe . - 4 their co-eXistence. • So the both forms of dominant

When referring to whether the structures are "in C" or:"i realised that this kind- of distinction defines the functional .relationships of the chordal units, and are not actual references tokey.

'Once again the'Departure Dominant has another nate added, and respelled enharmonically: A note forming a minor ninth with the chord is used.

• A11111111 roillIiMiliTX/MMININE-VM -11112411•111111111•011111UMR:L•MINEMINIV • iv •

This' chord configuration is also used by Chopin and Liszt.

.Tromthis . interdependency with the tritone links , and the respelling enharmonically of the chords and their additions are six different possibilities:

. 4 Bowers, p.155. 5 Ibid., p.156. 25

7 . Two dominant seventh chords with fifths (V b5);

_ 9 Two dominant major ninths with loWered and raised fifths ofiis ; and to 5-)

0

. Two dominant minor ninths with lowered and perfect fifths M 5

The fact that the root tone in the fonts of Departure Dominant remains as the :diminished fifth in the Derived Dominants demonstrates the mutual inter- dependence of tones in the tritone link

Each note of the 'dominant major ninth is taken in scalar succession.

The notes remain- the same but each chord contains its own internal, significance.

Each contains the whole tone scale and three interlocking tritones.

we .... • ';14■1111111PK•111•1111:`144 TAM ■I•ii:" rmalfgal11111111111=cr.8111■1111M11111111 ,01C17,11.11:217.4.7L7A IOW ■=wAl NW MI ME Mr MINI qL*1:14711110/111/1111 , av: • wq• i ito P fy • yr ...‘ • .7.' . -

Dernova arranges these chordsto form a 'Major Enharmonic Sequence' by linking the Departure and Derived Dominants in a scalar progression, until the first link is repeated. 26

: • • • .- 4 0.1* 11■..711•11111•• :At. I !IIMINE 5 , :a blIs :. I • WWI 11 7101 Ifz.Z..WIIMIS raIMI0111111111101 • wit • I 111•111M111 Otis ••'' Is. 1•VI•IMINEMIr_11■1111 •••Alt•ITUI111111111111111l411 •'y:41 MIN IINT•1: 1• • IIIP/PN I • •,t • • •T:: 1-410 • M3 143

in • I • - 47. • (11111!•1;1!-^711 I =le las•!:. afAMMIM IIIMMUMMEMMIIIMMEMMMIkS°71111M MAIM •I• ME 1■ ''.'4111M11111111111:•!:: ar•M1111 NWIMIINN P-1011 it •JIMI LI•M111011 .4.7 Wal=" IMOMM111111111111N•7 SUM= - • - • • • 14• - •

6 The Departure Dominants form the whole-tone scale Ascending And deScending. .

The Derived Dominants connect with the succeeding Departure: Dominants at

either downwards by a major third, or upwards by a minor sixth- 7

Respelling. the Departure Dominant at the tritone to form its Derived

Dominant results in the raised. fifth becoming a major.ninthinterval above'

the root.of the Derived-Dominant. ..Therefore, the former lowered and'raised

fifths become a major ninth apart instead of a major second.

AU OM= 111111■111.10/11111=1 iNts,11 ,1•211 WAIT•1111=111111v0MMIN %,:ilm.!• • • ova •

IIIMMEMOVAINMEM "Ara 0- 1 PO .

:Transposing either upwards or downwards by a major. third also results in.

the split fifths becoming a minor seventh apart. I warrsw. vs ANN tor ilerransmimm .!■=!! mmax. 01111111111111= ti.J11111111■11 Me-% ilITAII1111 11174:2111,711 I 17•1•1111 11111111111.• 111 111,14:11:■11111 Mal III 0111!!11111•Fl• 1.7,41 4/1 idNIM ••••• iwise!-IN.ns= mg M NIPMItia=1110011111111011 ■•/1111MaRNINSMInilIrMIMII `1811711711 WO- e's I'.. 1

8 The diminished and augmented . fifths.act as regulators of.the chords. The

control exerted by these fifths replaces the gravitation of roots a fifth 9 apart in tradition.

6 Bowers, p.158. 7 Ibid. 8 Ibid., p.159. 9 Ibid. 27

Scriabin now exploits respelling a major ninth chord with lowered and 9 10 perfect fifths (V5). ,At its tritone respelling it becomes a minor ninth 11 with lowered and raised fifths. On respelling it a major third lower, it 12 becomes a perfect eleventh with a raised fifth.

at the respelt tritone.

when it is respelled down a further

major third.

9 mtsii Because it contains both perfect and a lowered fifth, this chord sequence 11 - cannot be repeated. The perfect fifth in the respellings creates the minor ninth in its tritone respelling, and the perfect eleventh in'the 14 'further respelling down a major third.

A hypothetical perfect fifth'from the eleventh chord (derived from the

Original. Departure Dominant Da) - the only note not fitting. into the whole-

tone-scale - is next taken and put back with the original Departure Dominant.

It becomes a major sixth above the root of the Departure Dominant, and acts to further obscure the chord. - However, it is important in'its.function in-Scriabin's choice and placement of altered dominant sevenths and ninth

Its function is "... to weaken the potential pull of the dominant harmony ; ,15 into any.resolution. This added integer is lettered as V when it belongs to the Departure Dominant, and as W when it appears with the Derived - 16 Dominant. . The integer is especially significant its W status as it contrasts with a-stronger major third with the Derived Dominant. It can

.have the effect lessened by respelling the Departure Dominant at the tritone where the tension is less between the. seventh and W.

10 Bowers, p.161. 11 Ibid. 12 Ibid. 13 Ibid. 14 Ibid. 15 Ibid., p.162. 16 Ibid., p.163. 28

or, by Moving W a semitone higher to become th third of the Derived Dominant.)

":7 AIL ..mt—t-monhabormix.va, Ill'f.4=11111311 P/011IIMIT UCIP ILW■1111 • fil.I•a! 711744.4 ••• al1111111111Will

or, it-can move a semitone lower to become a major ninth on the Derived'

Dominant.

JIM %.i1T- 111111ff livid •l• #1011111111•111•1111' I. sINIST4IIII P. :MIK& PIO !re MIJI111•11111101a • p.

From these dominant chords with,lowered fifths, tritone links are " 17 possible, creating two enharmonic equalities. - The consequent respelling

of tones yields a corresponding alteration of inherent tonality within each 18 structure.

Scriabin goes further, and splits the altered dominant, into-two .

parallel chords, separated,by', and excluding the lower ti .itone interval, at

the distance of-a tritone. Two implied tonics are assumed as well as the

.chord reaching - its completion-by two chords being.required.

becomes, in toto

lower tritone basis (D5 omitted)

The - enharmonic sequence is again used and the same inversion occurs at

the third Tritone Link.

17 Bowers, p.164. 18 Ibid. 29

ioverron lat3 Itiks link I 14*(2 k3

Thus any other harmony that does not belong to the whole-tone

tonality must result from other methods. Hence the minor ninth chord

that is used consists of two major triads, separated by a tritone.

V

In the main, the melodies and harmonies once Scriabin established his

• system are from his. arrangement ofthe dominant major ninth with raised

.and. lowered fifths, forming whole-tone: scales. From this, Dernova, in ,

her analyses of the chords as altered dominants, juxtaposes the Departure

and Derived Dominants to determine their.internal relativity, tonics, perfect

fifths, and accessory V and W integers. As in traditional harmonic analysis

intervals are counted up from the bass of the chord. 30

i 411111111 NolifelDillM11103 t•Se., agrianvi. IS ■ rAMAN.1711.4 •■•=11 !To AnomvrA sTe:: -- "' IMI I Mimi lo:dltali• 10 arrill -..... = 11111 =I 0 I II I W! I! 1 alINININIK VIEW 1 111W'r" \-7.,11•11/%11• IIIIIIVIi WEI ArArIkinft“.1111 41.1 110 •

reicrr; rl sh S CLr C. .S d WC) .

/ 7. .1■:•73•11111• I NNW AN1—1P71101.". ..711 IIIIMILVIG; WANES I a. •••:.': iIMIITAMINIM I IIMMINII■10 b5

MUM P:411=11111110 I ra■ •-.1011•7•1•111111C 0..0111■111• Wroarie11

.,1144c1" 4hs cji d minor /I; I f-) e._ 0

bct #

7 bi , 9 3 1)0 ko

*Sdra. V and -kwle cir-E .

.41■. - I al-kMIMINIIMMI SMI■CMW7U MV4■76; I allIMMILIIIMINI I =MI MEE

..twavpkirmagamemmat. 111 AMU .1•11=1111= I IM 2.■1111•1.•1•1•1 111.11//1■11/110• ■ MI Win • 1•111•1111 =•J ,I..M111111 ■■1_1111111. (•ommy, •••■■111■11P' •

ThL. Or e, n alu C.I . = lin 1 . iiM IN= .1111MIRZ!.."7711101■111■111■111111 11111111■1.1 =M.' i I • r -9M1111.971111K-MI■ ANNISIMMEMN..11MMITIMINIE-111. MIL7a1WIIMMIIIMIKAIIII NMI CalIMINIIIIIMM■ MO nii1=174/•■•/ . IMIIM_MMII-q*M11111AAMM - w s 45 V I 71. 2 i, 3 q w a •-ra, b5 1 , I v 1 -a, hl I i VJ 3 b • r 66- 5- 6 + h immix. NI NMEN1111 011.-11..12 .1.1111.i.111111 _ GIN PI %.111. rONOINV0),:•1••11.- MMII•L•11111111WEIMMINIMIE ■IV %2 r b • Mr 111/ AMMO 31

From this system is the pitch. basis of all the later works by

Scriabin. The whole-tone relationships are internally exploited whilst accessory V and W tones are used to formulate more complex chords or regulate the existing chords. The "topics" may be sounded, as in traditional cadence points. The system Scriabin adopted was used consistently onceit was formulated. It is close to Hauer's use of tropes and to Schoenberg's formulation of his twelve-tone technique in 19 approach.

Herein lies the proof for, justification of Sctiabin's comments on late works, from Op.58 onwards.

"I write in strict style ... There's nothing by accident ... I compose according to definite principle. ,,20

19 Bowers, p.171. Ellon Carpenter points out Scriabin's consistency. He wrote a thesis C19721 analysing the ten sonatas - p.133 footnote. 20 Ibid., p.128. THE EARLY WORKS

Introduction

• The early works show little - if anything - of future Scriabinic

developments. The first six of the Op.11 set of Preludes are taken for

analysis.

As a young man Scriabin admired the music of Chopin for its poetic yet

pianistic approach to the instrument and to composition. Scriabin was

singularly uninfluenced by the Russian heritage or by any of the current

Russian Nationalists such as Glinka, Mussorgsky and Balakirev. There is

never any evidence of modality, folksong,- or dance rhythms in'his music.

.Instead, he modelled himself clearly on *Chopin, extending to the same

way of compositional style and pianis tic treatment in these works.

• . -Scriabih's set of Preludes Op.11 were completed over a period of

eight years,.. 1888-1896, or when Scriabin was. 16 to 24 years of age'. These

preludes are modelled on. the Chopin Preludes Op.28, and share the same

pattern of key relationships. (The works progress through the cycle of

fifths relationship, via the relative minor, so that all twelve major-minor

keys are covered, i . e. C-A minor-G-E minor-D-B minor, etc.) Indeed,

Scriabin was far less adventurous harmonically, pianistically, and therefore

.compositionally than Chopin, in his own. Preludes.

The Op.11 Scriabin Preludes are divided'into . four parts, each containing

six preludes. Only Part One contains preludes encompassing the entire

. period 1888 to 1896; Part Two covers the last three years, Part Three 1895

only, and Part Four graces the last two years. Hence Part One shows a

greater degree of internal variability than the remaining parts.

A comparison and trends .in the six Op.11 chosen for analysis for 1 general compositional characteristics are included on a chart. The

1 See: Comparison and Trends in the Opus 11 Preludes, pp.43-44. 33

prophetic use of certain chords, intervals, and procedures are extrapolated

and explained as' they influence ultimately the procedures that Scriabin

followed in later thematic and motivic usage. They are included in the

analysis.

2 The edition used is by Igumnov and Mil'shteyn.

2 Scriabin, Alexander, "Part I, 24 Preludes, Op.11", in The Complete Preludes and Etudes for Pianoforte Solo. Edited by K.N. Igumnov and Y.I. Mil'shteyn. New York: Dover, 1973, pp.4-15.

34

THE EARLY WORKS. :.ANALYSIS •

• Thematically and/or motivically the early Preludes use traditional -- - procedures. At this compositional, stage, due to their relatively short •

length, Scriabin basically concentrates on only two or three ideas in each

piece. He then attempts to work each facet through-during the length of

the Prelude: Even at this early stage, certain examples of Scriabin's later

"blueprints" are seen in their: embryonic state, given the harmonic

language levels to which Scriabin has progressed. . They are as important

as the - thematic'Procedures_ for their future implications in the way in which

Scriabin approaches composition. Both areas are discussed.

Op.11, No. 1 (1893)

This prelude is tightly constructed. Rhythmically An improvisatory ,

quality has been achieved by usingan uneven subdivision of quavers, acting .2' as a partial anacrusis.in a time signature: 2 . a a •1.1J 6vc

It is used constantly throughout the'prelude.

:To balance therecapitulation of themelody more forcefully, Scriabin .

alters the bass rhythm to 3 Crotchets, to be played against the 5 treble

quavers; J.11.1 J r r r

[

This 5 against 3 crossrhythm usage within a single meter foreshadows the

. conscious attempt to achieve an improvisatory effect through strict control

of one particular facet.

Thematically this work is - also.interesting_as the melodic line, of 1 2 bars' length (Fig. 1A, p.40) chooses two contrasting ideas. A pattern

of perfect fourth descending intervals (Fig. 18) is juxtaposed to an

interpolated pattern encompassing a perfect fifth in which the perfect fourth

1 See Figures 1A, LB, 1C and 1D, p.40. 35

is an ascending figure.(Fig. 1C). (Hence the resultant'minor'third

:interval in both patterns also changes direction from ascending in. Fig. IB

to. descending in Fig. 1C). Both ideas retain their original function

within the .phrase, and as a thematic entity. Figure 1B emphasizes the

perfect fourth.descent and climactic ending from [19-22] by adding octaves

to the beginning of the fourth patterns: -

AMEMPEMMEMMO =NM MEMMAMM MIME MEM AIM 1111MMEMM MIMIIMMEMM 71■111=111111= NMI= MI MEM OM OM

• The bass (Fig. 1D) supports the .main theme Fig LB and is silent at

each recurrence of the secondary theme interpolation. It exploits the

.movement of minor .sevenths to amajor sixth within the basis of two chordal

bases:

r/I Wilef.:4■111111ffifffe iwirimilmmosmcm■1111A111 67/14/Vit W07/I PI/WAref =del: MP

The duality of function implied by this bass - is important in Scriabin's

future development. Whether the importance of the progression is VII with • 9-8 s a .tonic pedal point oran implied 4-3 suspension on I with no preparation and the accented passing notes D (in treble) and F (in both treble and bass)

.acting • as motes of s.uspension 2 is still subordinate to the reality that this

feature has already occurred in Scriabin's compositions.

' The other feature is the juxtaposition of treble use of perfect fourths

against the bass use of a.minor seventh acting in a dominant seventh manner

with an additional lower perfect fifth acting as a tonic, as indeed it is.

This phenomenon occurs in later Scriabinic intervallic organisation of

material where sense of tonality, and key are less in evidence. This:structure

then undergoes experimentation, 36

Op.11 No.2 (1895) .

Written two years later than the first prelude, the second prelude

concentrates more extensively on harmonic extension, and.less on rhythmic

development. , The prelude is written in three contrapuntal lines - another

feature later integral to Scriabin's compositional style - and each line is 2 assigned a specific rhythmic pattern which is consistently used. The 3 three lines are.seen.under Figure 2 where the duality of the lowest line

that of bothmelodic and accompaniment function - is distinguished by

separating it into Figure 2(C) and (D).

The expansion harmonically is an important factor in future developments -.

The opening ideas are of four bars' length in total ., and the sense of key is

not established.until.the fourth bar. This deliberate obscuring of the key

centre by using secondary and chromatic sevenths before eventually cadencing

in first - inversion - (bars [1.-4]) is .-indicativ6 of the further treatment that

the Contrapuntal lines are subjected This, and the resultant simultaneous

Use of diminished and perfect fifths also contributes to the trend towards

the organisational procedures which Scriabin eventually assimilated into his

compositional style. The obscuritY Of key sense, especially, is prophetic.

. 0p.11 - No.3 (1895)

_Like the second prelude, the third prelUde-was also composed in 1895.

this prelude is closer in concept to the first prelude. The

close relationships between the key and the modulations.; . the more conscious

use of metric accent alteration to aid harmonic progressions and internal

climaxes, the regular phrasing and strongly sequential use of thematic

material, the arpeggiation of the bass line and the use of crossrhythms . 4 demonstrate their related nature. In addition, the treble line (Fig.3A)

2 See: Comparison and Trends Chart under "Use of Rhythm". characteristic, p.44. 3 Figures 2A,. 2B, 2C and 2D, p.40. .4 See: Comparison and Trends Chart, to observe the similarities, pp.43-44. 37

co-exists with another part where the first two beats own a crotchet

outlining dominant-to-tonic note or (implied) chord (Fig.3E). It also,

by virtue of its outline implies two parts, that of melody (Fig.3A) and

that of accompaniment (Fig.3D).

The third prelude also shares the quandary - of functional dichotomy

as in the first prelude. What is more, the same chordal basis, that of

7 or I with suspensions., is -Used. This in fact establishes the

direction which Scriabin will take in composition. The use of various

forms -of the augmented sixth chord in modulatory passages is also important.

Qp,11 No.4 (1888)

The fourth prelude is actually the prelude with the earliest date of

composition- in this set of six. The primary melodic interest is in the

bass, and-balanced by :a counter melody in the top . line. The two inner

parts can be considered as-one accompaniment line or as the third part.

It is very similar to the second prelude in that it too oonsists.of.three

-distinct strands, eacholearly -defined by its own rhythmic. pattern. Unlike

- the second prelude, a sense of key is quickly established; though similar

to the second, in that the tonic . is.heard in first inversion in its first

. appearance.

Another likeness to- the second Prelude is . the bass line can be split

into two separate entities,-.and treated as such. 'Figure . 4 shows all 2 - facets, and Figure 4C (C 1 ) and (C ) - demonstrate this.. 4C 2 has a compass

of a minor 9th, like the "accompaniment" part of the bass line in the

second prelude.

:Also of significance is the presence of both the Neapolitan and

Augmented sixths - more experimentation with chromatic harmony procedures. 38

Op.11 No.5 (1896)

The prelude in this set bearing the latest date of composition, this

work nevertheless is anachronistic in nearly all aspects of compositional

procedure. Experimentation exists only in the variation procedures applied

to the basic theme, four harmonized chords with a start of a half-bar

anacrusis. It is basically a miniature in ternary form using variation

technique on a theme.

In the bass line the basic unit is four quavers jj It

occasionally varies tojjiljat the end of some perfect cadence

• figures when the same basic phrase with the same harmonisation is repeated.

As in the first prelude, this prelude's bass rhythmic pattern alters to aid

and further distinguish harmonic movement; here it alters to a .1\

pattern.

There are two basic ideas in this work: the opening theme (Fig. 5A), 1 and the second idea (Fig. 5B ) used to develop the work (through . 82 and its 1 2 3 continuation 83) . As is obvious, 5B , 5B and 58 are closely related in

melodic contour. The wide spacing. of the arpeggiated treble (theme A)

occurs in its last statement.

The only significant factor in this work belongs to -a footnote on the

last page of the work. In the third-last bar, half-way through at the

beginning of the last statement is another alternative for Scriabin: to

add a fifth in the bass line. That is, both'the tonic and dominant

note could be sounded simultaneously, and, as in first and third preludes,

create the dual-function possibility - and eventual integral compositional

structure.

Op.11 No.6 (1889)

Another prelude of straightforward construction, this work is written

in two parts. The treble is displaced by a beat's distance against the 39

bass line, and each part serves to both lead and resolve (implied) chords

and progressions. It has the mostsymmetrical, -regular construction of

the six preludes rhythmically, harmonically, in phrasing contour, and in

phrasing. length. 5 Like preludes one, three and five, it also uses the

rhythmic factor to aid progression. But whereas in the other examples

'the rhythmic pattern changes, here the pattern remains. But the placement

and registration of the bass line reverses, and uses chordal structures

positioned on first beat ofthe bar ., and the dominant pedal point is

placed on the last quaver-beat. This significantly contributes towards

restatement of the opening themes containing a strong dynamic impact

when 'the rhythmic reversion re-occurs.

Strong sequential usage is also evident.

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Introduction

• This is the' pivotalwork of the ten Scriabin sonatas. It is the last

of his sonatas to be given key-signatures, and the first to be in an extended 1. single movement form. It represents both past and future compositional

directions. The cadence. as traditional harmony knows it is all but eliminated,

. the "tonic" sounding "out of immediate context" in the sections following, or

it is staggered across other progressions in a different tonal area. • Examples

of these occurrences are provided in the analyses.

Scriabin himself completed the work in three days, and recognised that

it was more inspirationally-derived than owing to logical compositional

process; the fact that the work does conform to strict procedures enhances

the conviction that his development of a" single functioning parameter from

harmony and melody was both "correct" and logical.

The work-succumbs partially to each of the three systems of analysis

employed to analyse it.' - Traditional harmonic/thematic analysis of the work

shows the use of motives and the importance of rhythmic cells as structurally

Unifying devices. However, it fails to explain and categorise the significance

of the key relationships and.underlying harmonic basis; indeed, it is

insufficient as a resource to account for the harmonic areas so obviously

.used as referential bases for the work. The Schenkerian-style of reduction

analysis eliminates the linear motive, and displays the basis of the structure

also being dependent on the.juxtaposition of these harmonic areas. But it

neglects' the greater use of linear counterpoint, and hence the increasingly

'important place held by the rhythmic parameter in twentieth-century compcsiton.

-That part of this work does. adhere to, intuitively; his "system' which he had

not yet codified demonstrates the experimentation and evolution of a justifiable

process.

The edition used for this sonata is MCA Music, New York.

1 Hull, Eaglefield, Scriabin: A Great Russian Tone-Poet (New York: MCA Press, 1970), reprint from AMS edition, 1918, p.20. 45 SCRIABIN - Sait.lATA /v0. CS- 11SLUTEC.-r i mR-TER/AL FIGL5kg.S PRoLnau g

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OUTLINE : FORMAL CONSTRUCTION

The 5th Sonata is in strict classical sonata form. That is, it

follows the . traditional exposition, development and recapitulation of its

subject matter.. Of 456 bars duration, this work divides as follows:

Exposition: [1-156/7]

.Development: [157-328] .

Recapitulation: [329-456]

Further division within the Exposition reveals that it consists of six main

-contrasting areas, discussed in terms of a prologue introduction and five 1 contrasting subject areas. These areas can include juxtaposed or successive

motives or harmonic areas held together by a rihythmic.pattern. They are

usually indicated by a tempo or descriptive marking and their compositional

treatment generally avoids overlapping.

EXPOSITION [1-157]

The Exposition is realised as follows:

Prologue: Allegro impetuoso. Con stravaganza (Presto) [1-12]

'Ist'group of "subject" ideas: Languido. Accarezzavole [13-46]

. 2ndgroup of .ideas: Presto con allegrezza [47-95]

3rd group of ideas: 2 contrasting ideas are juxtaposed and extended; the

first marked as imperioso and quasi trombe; the second as sotto voce

misterioso affanato [96-119].

Ath-idea: meno vivo [120-139]. 'Herein lies the crux of the future of the

Scriabinic nature of composition, examined later; and

5th.group of ideas': again as in the 3rd group, 2 successive contrasting ideas.

The first is indicated Allegro fantastico, of 2 bars duration, and

separated by a bar's rest. The second idea is labelled Presto tumultuoso

esaltato. The fifth group extends from [140-156] and possibly can

include the 1st quaver beat of [157].

The "subject" material figures are indicated separately.

1 The use of the term prologue, and later, epilogue, has been adopted from Eaglefield Hull. 51

Prologue [1-12]

In this introduction (spanning almost the entire range of the keyboard)

the choice and treatment of certain intervals within a framework has far-

reaching implications in Scriabin's evolving compositional procedures. It

is of utmost importance that these factors be identified and described.

It is significant that in the opening introduction, rising fifths and

alternating diminished and perfect fifths are used in the bass line (Fig. P(a),

p.46). In the top line, the tone and perfect fourth intervals are employed

at the principal level (Fig. P(b), p.46). It is also equally significant that

the perfect fourth, a cadential feature of tonal harmony used in the bass line,_ _ 2 is studiously avoided in the bass line. Instead, the allusions to cadential

features occur in the treble line (D # to G#) as a form of referential default

(Fig. P(c), p.46). At Fig. P(c), the bass line grace notes ([9-12]) form

successive alternating diminished and perfect fifths with their main notes,

counterbalancing the perfect fifths and fourths occurring between the full

notes. In connection with the bass line the treble line outlines major

sevenths via alternating perfect/augmented fourth and major third/perfect

fifth subdivisions within'each group, and perfect fourths each bar. Most

important is that the conjunction of bass and treble lines outline consecutive

augmented fourths and major thirds, with the bass line "E" providing the

perfect fifth needed.

Also important in the introduction is the .spacing of A as.the-centrality

between D# and E outlining a minor ninth. Though not in a. "key", it juxtaposes

the diminished and perfect fifths, a gradual solving and evolution to the

'harmonic system Scriabin gradually developed. The minor ninth is treated as

- a consonance, or point of departure, and the octave is deliberately avoided.

The treble ornament (Fig. P(b)) exploits the use of the tone which

reinforces the trill on E, also a tone in usage. The first treble ornament 2 The only reference seen to 4ths in the bass line is by the successive octave transpositions [9-12] from bar to bar. This only changes registers, the 4th is seen as a result of the transposition and is not an integral factor of the work.

52

contrasts the perfect fourth with the augmented fourth - made up of three'

successive tones-, td Create a form of dual acceptance of both fourths as

consonant viable alternatives. The second ornament subdivides into a

,perfect fifth/major third dichotomy. As both are contained within the

major sevenths, - Scriabin can be seen extending the function and usage of

intervals for certain compositional reasons.

.First Group'of Subject Ideas[13-46]:'Languido

Separated by a bar's rest from both the prologue and the Second Idea .

Group this section uses five main motives contrapuntally as its basis.

They are: Motiveg- 1, 2, 3, 4, and 5 in First Subject Area Figures.

Already usage of material in the prologue has been used and altered. The

.15.tologue - aSCending treble D # to GI! is now used in the treble line in the

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The E trill in the prologue - transmutes to the E.in the accompanying chords

as the pivotal note around which movement occurs by tone and diminished.

'fifth.- again as in'the.ptologue. The vertical intervals are also

significant. - If.the spacing, is examined, the chords use perfect fourth,

tone, and tritone:intervals as. the integrating feature of structure.

rAteniais of 2.. 53

Motive 2, uses the minor third returning as its idea. Originally as a

secondary effect, it becomes countered by the upward movement of G to B

in Motive 4, its first half. Also comparing the intervals against the

bass line:

movement by a minor third is also noticeable [29732] in.the bass line

where there is tritone descent against the, ascending minor third's.

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Sven the zepeated.notes CEig.2 Motive 4) are used as.a rhythmic resource.

First occurring [20], they ere: Chordally filled out at [.32-33] -and [36-37].

Motive 5 is related to Motives -1 and 3 by interval compass; perfect fourth,

.tone [enharmonic diminished-third].

2nd Group of Ideas: Presto con Allegrezza [47-95]

A six bar theme provides the material for this section. - It is

based on the .tone, minor seventh, as alternations, ascending major and

minor thirds, and a descending perfect fourth within a descending perfect

3 See Second Subject: Theme and Pattern Material, pp.46-47.

54

• , fifth compass. These areas are defined because Scriabin separates and

develops each.of these features in this section. Also, the bass provides

.,m1harmonic ostinato:

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a • 4111111/41111111 - GC; al I :Egi; -111A1= III awns IMMINIMINEM67 .11 1 MbirJblifILL1111411110 01M1r7VII MI LAM= I IL:CSMIWWW771- 7=-1Iri• liormoesic asii/stio

"

. _ The use . of-two. successive perfect fifths in the bass line is important as

Scriabin,deVelops this idea [80-90] as ascending figures, and as the end

• of.thephrases191-931 -compasses a:major 9th; again important

- The use of . tone and minor sevenths expands from (a) to (b) and (c) below

T i 7 I .71

?V al

cc) . r .kloke...1 : of (5.2.1 lite/ •

744 . int7'1 5#,914.71 na I ao-il 55

The ascending major and minor thirds also expand from (d). to Cel below

"IVO

(d) - *r.1 MD •I• • •fe (e) L. x;•7112"arer.•1111e_. ■1111111.111111101 11111111INIMIIIINta a'r t!''S nuINIEN • IF IMAM=P •IMINI MOM ARNO s.g! 7ft WW1 MI 4111111 MOM INIFWillIA MEP eltallILUINIIIIN MEW& hsIIIII•1111 WM= NM •1111 MIL'S ;411IIIIIMIIIMI .11110111M1.1•1111•1 111■111i CI■11111111r111111 MN Ell Mail mom mir •-•■•INOLIIIMIL =1 UT= V.IMIIINLIallffiaME:_..M11— INIMINIrrea_MIIIINNI st MIN 5 143 ciecrifel Wst. asce-441;iii JeciS Ps seioaradmq fit& aegis c&i d )ione.s.

Note also the use of the perfect fifth separating the_thirds. This is a very important feature, as Scriabin continues to use this idea as a basis of compositional construction.

The "resolution" to a major seventh as consonance is also important

194-95] .

"P2 6r"Wa 5efiara fed 7 by a mietog- dursi

Third Group of Subjects 196-119]

Two contrasting.ideas each of two bars length, are juxtaposed side 4 by side. They are Fig. 3Ca) and (1).

3caY Shows the.variation.used; ascending major third pattern, from

the second subject group becomes a descending minor sixth, still

an augmented interval pattern. It acts as an interjection.

3(b) Acts as a rhythmic vibration.

4 Third Subject Area Figures. They are also demonstrated for intervallic significance and function under this section of the analysis, pp.47-48.

56

MN 271 relaiLion bau Ades, 0 10 iNfr

.4ds as a salfe-nsion - C# Acing fircparc...ci gam Y-he pev;ous acz.c.74'a A

5111 AMES ■111111oLia; or7. 71•111!..1 ,1•WWItai:211111.19 saimavois 011 INIIM 'At MN Mil MIME F.1 • 1 MI MS. Min.= MEM ECM 111111111•111•WMIlali . MI We :1 IN AM. WSW. ff_^1•521 jrjlliglr Wi•E IMMO MI T1

EPA WUllAMMI•me =Om VANWEICWIVANNEMMUMMMECI I ialharrnanic. Crench I vaara .111111111111111=1111•11==2 I "414 scici•, an Ahe, WPM 11 3115B411.11

WIWW."1.11•11•1 billOVOW=0211MMEMEMEMEMEMNI 111/154111A0.•EMMEMMEMMEMMI twIWWLAWIML • .111 - The'pitch levels on which either entry comes in outline-the use of the

perfect fifth , .g. Fig. 3(a) :

• , 11111 Z;1111. 1.=. ME ...... 1.111. I islIMMINIMInii IMIM —- - A litaG;;IE:al I !MI; Mr-ME I No cc; aum. s.- am minimmomi....,....1 ZIMLIMIlialVEIMI MIIMIN WWI zt Ili I 11WMil IC; rIlkil___■11111E1-4171111 Z11•11.11M I IWIIIIIIIIMMALie •M11101411 ! es. I

• •• 8 Age _ MAI flailW PAIIIIIIMMISAIMIN 8.2.76..011L711•111111111111111111111E11101111111111111//11M1 VIM wiL611111111111111111•1:Mult INN. 116.111111.1111111•••■11111111111 AIM 11.11111•111 ■111=1111111111P111.7/117/1111 kill! MOW OMEN •! OM MIS r 1 • S & CLOW/1 Oci-aue 351,4.1 M3 cone on irvarsion _zyk_ik--e=jet viiiTZTA 071!

I' at Also note that the last statement of the.imperioso Fig. 3(a) idea uses the tone and minor seventh feature of the second subject group: This shows the close relationship of each thematic idea to the other, Fig: 3(C)., p.47.

The rhythm assigned to Fig. 3(a) is kept; the interval S are transformed.

Fig. 3(b) entries change harmonic positioning, and anticipate developments in the piece further such as the descending semitones [103], and the interpolation of a treble jump by augmented fifth [107], [109], [111] and major sixth [113], in contrast to the augmented fourth leap in the corresponding bass section to the fifths: 57

i _ • IP 4IC i illwalltaGo WIELIIIILIF:, Al =PAIL* fl 11" =LIM 1-1011 I /17MNIMIM WNW, 31. OW !! .. 1 SHIMS' Ma 11111'111/ 'MI • W A ONO !M IIMII MIMI Moo ■----- ____CIII! • 1,1111711r1111111/11■• Eli DI; MO ral , •MIN■f/i BMW NI: /ININ . 11 Gs.■1 MIS raMMIN MINI =MI MINIIINIIN III ME MIN IMO 11; • -- MMIIII 11,1110 . a ; 411hii1W0 r. • imi.•■•1 IW•Po NMI OMMIMMEME NO

1 MIMI IMIll MIME MI IIPT91. ;WIN IMITIMMINIIN■TIMIVIII • ran= Mil Cr 711151rJrn MINN. Nor IIMP MIMI MN II ad GI i AMU. NI 1 INNIIWMIllbrillIIIIWINV/IN11118 . , ■IIII i • WaSIKEILMAINIIIMIION6 24•1•11111 WAW W WI Ma a e' ?WIWI IS !MIMI W WWI Alial MI. ' swami tiliali.111=1.111111•1111 MEM MIIIII IM116 Ellbrampr • maimarms a1 W I I W ffS.•ML In W W IMIL: UV I •A.

• 11410 • 415 Noi 4A0 tieg.4 p,-velwja a iv e ekvela r i• or 1A,•:$ rit

added El' 116 SQ/We AA/mall irt iasielsien Aged,

I LY33 ; fh Nof e file chord sir uctures usitd (107 — 111j are al#e etaiin_q dooliActAt qiirs raised Mils and derninani "Ttlis (-3r ) cf•m;Aelitr 7/4s wdh &were./ sibs oirb:0- irs

The '"resolution" to a first inversion seventh chord is one of the 5 harmonic blueprints of SCriabin's middle period style.

In addition, the movement by perfect 'fifths to the next section meno

vivo from the.quasi trombe imPerioso [114-119] is again featured. The first

.'inversion major seventh moving to a root position up a perfect fourth, also

acts as a II-V(-I) cadential feel.

(4 7cp,) dw 1 7

5 Hugh MacDonald, Skryabin (London: Oxford University Press 1978), p.13. He maintains that the 1st inversion seventh chord and an altered augmented sixth chord he terms the Scriabin sixth are two harmonic fingerprints of Scriabin's middle period style.

58

'Fourth Group of Themes Meno vivo [120-139]. 6 Contrapuntally, four ideas are evidenced. The two treble lines are more

independently contrapuntal' (4A, 43); 4C and AD are more interdependent

as the harmonic. cushion for 4A and 4B. In the third bar of each statement,

• itself of four bars length, the. lines 4C and 4D converge,, and also 4B by.

,: . implication-andregister ;_ in AB (1211A Abelow middle C 'goes to an A

, below and above middle ,C in the Converged. 4C/4D chord [122]. A kind of 6 extra line, or motive, emerges: , .the D .to Dii.alternation in the 4B line

occurs as opposed , to the arpeggiated converged 4C/4D line. MI

The rate of harmonic:change is very slow; basically ,

existing of two IA

bars duration until [134] when: 1N7 11 remains as the. harmonic basis. The Al

and F.:Seem to be simultaneous sounding

of the dominant.ninth chord with its I U

.tonic note, if these-terms could be used ,

descriptively rather than definitively. MO, S

The also acts as the delaYed resolution'of the dominant chord, first AM expressed in (118] as an anticipatory measure.

6 The F is.prolonged through the meno vivo by movement to C . , or an

Augmented fourth, twice, then'overlapping, in the harmonic reduction.

13- r? W - 0 0 I 0 a —11-11---11--- 1it 4a----.... -3-4-. 1 1 () 0 i E/ 20 io /2,41 aZio 41t r - r , io 42 ri i L/24! /33J L3`i ic 131 j s 0 0 0 cj. I CI in A .rt 1 L..1W - 44 ---p;,74;', P54,

This section, containing the bass overlaps, is of crucial importance in

the later compositional developments that Scrialoin evinced. It demonstrates:

6 Fourth Subject Area Figures p.48.

59

increased contrapuntal management, use of harmonic areas, and continual

- overlapping of traditional resolutions (such as to the B ) by assigning the

"resolved" note the dual function of being the simultaneously resolving

"tonic" from the previoUs section and existing as root of another dominant

- chord. ThIS‘duality of placement and function is the key to the compositional

development.of. SCriabin. The themes 4A and 4B exist in four-bar phrases;

4C and 4D are balanced as twoYdivided and combined "harmonic cushion" realisations.

4A1413

.coftiki4ed 4414D., I appetraiezi c4 4.111ail :134 129-134dS l'aZZA:iakOnS

Scriabin has also cultivated an .intensive*close'relationship between

the 3rd and 4th :group of subject areas. Dis-integration and integration

• occur.-between the 3B sotto - voce and the three lower parts 4B, 4C and 4D.

.3B / , # c:21w.-JE:-=•••■•■•■■■■=nom. PIIIIII•• ■I•MI A IliirMUMILINIMM11111111111•111111111111=11 In III MIIINIII MINIM re 1 1111111116. IIIMININIIM•711 =III friiIPAMIL1.1‘1M111111MIIMIPM1111 %;•■111JIMINIE1= IMP ME MEW= I -,

• L! sallo voc4.

.3C; AIMMIIMIMMIN■ MOM= IS■ 111076#.11111=11111111 ■1111NONI111 1 11.21171111111110- Mk! 111E111111114 IMILMIC INC MC 11111/VNIIIC:•111 iliii:allIMIMINI111111•1■=111=11111 74■111111111• (gni:ATV EacJ

In the sotto voce the moving part internally, is an alternating major-minor

third against a constant minor 7th (doubled) and diminished fifth from the

.bass note; the meno.vivo contains a- constant major third and.minor seventh

(again doubled) with an'alternating major-minor , ninth. It also demonstrates

a change from harmonic or homophonic principal function via a rhythmic motive

to the contrapuntal function; with different rhythms given to illustrate

.their inter- and in-dependence. 6 0

Fifth'Group of Subject . Matter (140-146] -

7 Two contrasting ideas are juxtaposed. The two bar motif allegro

fantastico, is, as the prologue and end of first subject groups also

separated by a bar's rest from an extensive presto tumultuoso esaltato

development of two inner contrasting ideas, Fig. 5. They also contrast 2 6 by time signatures of for the allegro, and. -for the presto.- 4 8

Presto ilitnu t ti 0,50 83 - I WZAIMIIIIIIIM•1111•11 ■11•11111rM■PMEMil NIEJMN711•11•1■1111M 1■1111h411=111■' IINIONIK.114=MMNIMIBMIIIIIIZU:NOIN I/111112 MIMI WIMMZIMIWIIIIIIM21.!ril•IIIMIUMIIIIII IMMIWN11 1•111CMIN9 71/1■11/1111111 nom ballIlii.■1 / IOW MIMI& F IG. 58 L, par-t I.

rzoommtv .."2.1.11111 112111iMPAIPIIIIIIII■klINIMMIIM•11111111111111= 1101•11a1•111=1111111111.10_7111111OC1■ MIMS 110111•1 I Wilff%11/11411111= pal■I■111111111111111■1 NUM' MO

With the second main idea, Fig. 5(b), these two parts of it combine to

phrase the section as ,follows:

1st statement -4 bars:

3.bars 5.(b)(1), 1 bar 5(b) (2)

. 2nd statement 6 bars: . _ .4 bars 5(b)(1),,2 latter bars derivative - and variations

2 bars 5(b)(2) "'extension" 5(b)(2)

3rd statement 4 bars:

2 bars - 5(b)(1).derivative And variations

2 bars 5(b)(2) "extension" .

The motive 5(b) is closely related to, and indeed uses', material . from-both

' the second and third subject areas, developing both ideas. In addition,

3(c) itself is derived from 2(c); figures 5(b)(1). and 5(b) (2) derive from

2(b), 2(c) and 3(c).

7 See Fifth Subject Area Figures, p.49. 61

In 5tb) part 1, the treble line can be directly related to [48], (or

[54]) or [59] or 161-63]. Probably [61-62] '(indicated below) is the closest

to [144] and [145] due to the identical rhythmic . pattern in both bass and

.treble lines, and intervallic movement in the treble line; and [59] [80]

and [84] correspond most closely to [147-148], as their harmony is closer-

than 182] 1 and [86] though the pattern is the same.

; ',4 .11111'ir 2§ ,1711. 2•01111 ;71 11111i1111. t . 4 Il • 11 W. Ma. JR:A11112111111.1,1t1IMM/11-211 L.174U0Sio I •ATAMININIMMMIIIMilIMP IN 14 1■111.11111/1. ZININ/1111111111M NS MI irdir icdrim IlliMmaim111=CMICTIIMItUlMji III tegamilwif 11•1•111111/1110111111M -Num' aa 1 'MANE iii 111110 sq . sormer=swismi• 1111■1. ....■1111/11 a LIB 12; iT1Lfri: 4,11,1 (MN wicitil.rxosorirom ■■=mmmisswr. A. 3Nwoul ismosimmm 111/Alii: MILINI11111 /Alibi II, AlLallibILVEIMIIII IIIIIIIIINIMW/M IIIIIMIIIIIIIM•111 ILM111 ■1' MN MUM ; and MIL NB flakilLiir 11131W1111111111111111 ■ MR NOM EINEM MIIIMMI1111111.• 161-7 • • i MEN6■441.1■mill11.7 ■••=1 I"

411_1111RAIIII I c=2=11II1 IIMI I#111= 11. TIMMS w -1111114•11 1,60E1111dr ,,, 111•111=1111111111• 11•11111.1NINIMMMIIIMIMINNI w 'NM momNM= _ Lg.] r=t. em 1 rim re; 111MII 1;4E1 OP Ot75 ,21111' A 1■ IIIIMAISMININIA =JIM I 1 11 I IIIIInknia: MIMI

• . [149-150] and [153-154] directly derive from .188-89] and 190-91] in the

-treble configuration and development but.the.bass line, though harmonically

consistent with the treble, is varied rhythmically. The first bass line

appearance carries on the 6 AN . . 8 . I` .1 7 movement; but the last appearance uses the appearance. of semiquavers on the beat, first indicated

at 1146] and 1151] with .T LI i ale at.1153] by altering this rhythm .

to I: ri demonstrating . further use of the rhythmic parameter. 62

THE DEVELOPMENT : [157-328]

. -In the development, Scriabineven more closely develops and integrates

material. When possible the identified figure numbers will be named to

show motivic or - thematic relationships.

The prologue idea heralds the development. It is up a tone from its

first statement and is of eight bars length, or two-thirds that of the

beginning. Again, a.bar's rest separates•itfrom'the.following section:

[157-165] .

The languid°, as in the Exposition, reappears; but up a tone from its

original interval.- .As in the prologue, its appearance is shortened; from-

[166-184] it corresponds to [13-33] without the reappearance of the. two bars

worth of falling semitone in the middle line with falling tritones by a minor

third seen at [2930];- - this- is saved till-later. In its place the previous

four-bar.pattern [25-28] is extended to a seven-bar pattern.

. From [185-246] elements from the first, -second- and third subject ideas

are developed. -The rising thirds treble .line (Fig. .2(a).) are extended'

against the imperioso in,the bass (Fig. 3(a)) .while Fig. 2(b) and Fig. 2(c)

. balance this three bar pattern-with their usage- over three bars. [185-190].

The imperioso in the treble [191-192] is placed against a dominant seventh

. chord-structure bass as-in the Exposition,- but the rhythm has-been altered .

-from semiquavers to crotchets first bar as hemiola and second bar to

increasing complexity of five crochets in the time of three. The rhythmic

factor here generates the feeling of -progression, as the harmony has .

- remained static: only the dominant seventh structure based-on E ([191-196])

is used, despite appearances of its ninth note F # ([193-194]) . , and its alluded

- eleventh-note A ([193-194] in the treble line).. Figures 2(a) and 2(b) again

reappear [193-194], then the same imperioso statement [197-198] is altered. 63

It enters at , a tritone distance (down) , thus the harmonic background is

altered a tritone, (a) below. The tritone impact is further emphasised by ----„ use of a full dominant Chord, J..ct before the rising thirds of Fig. 2(a) , [193].

. The dominant chord resolves to the chord at the tritone,, (b) .

s+a+erneni- 547:21Eir e /7 -IL &um CL 11-r).4-one. D.cts— 161

•

tnt

S. • S

• it

I WAIMMIIT2111111. ."•NEMNIIIMIlreall111111111111f4PLitiMIIIIIIMINIPThiCk7//M WS. / fralillie2Eill1=1■1111 1111•111•11 sramairres■Id. 711MratiwW71911111111111111•101MMIM•NreitiaWf t • • r-e4ained

'T7061016 INILdaTIMOINIIIMINIaT

Alga. ckitA acithilana / 7 iiare

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This leads to 'two. questions of possible construction:

(a) Are the .chords when the same notes have been sounded written

enharmonically, when a. note at the tritone has been added, to

indicate a change of function? (i.e. from progression to

cadential feeling)? or

64

(b) Are the chords written to indicate the parallel nature that

exists between them? (Therefore, would the different spacing,

e.g. 2nd chord El is where El, would be for pianistic and/or

compositional reasons?)

(199-206] concentrates on developing Fig. 3(b), 1st subject motive 4, 8

its tritone accompaniment, and the increasingly complex rhythmic assignations

given. to each. The first subject . motive •ourvappears in augmentation and

later harmonically filled out [200-206] as the.top . tenuto'd and accented

line in the treble.. Its former tritone falling by a minor third in the _ . _ . - first subject area is-expanded•by interpolation and .arpeggiation of the.

Fig. 3(b) motive basis [199 and 2011 in the :..meter (as. compared to its 5 initial meter of Fig. • 1(4).) - 8 .

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`PORAIS OF 38 MO -7Iva

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N B. C 44‘I;el 644 I caidinlanica S74, iron., 1291.1

The minor-third-falling tritone-occurs in the bass [200] and [202-205].

At [203] it is arpeggiated out in conjunction with dual usage of Fig. 3(b) expanded; 9

8 Seen under First Subject Area Figures, p.46. 9 See Third Subject Area Figures, Fig. 3(b), D.47; and the following example.

65

/ w. li its LP. . s s a 'Jai mastsmr cm ..:.1=-ALY.imi VI Ili ' IIII; OM • 1 (11•1•1•1111•1•N MINIM MIME =EN • I I I I I I • 11&& • MB I fi 'MEWLS'', ------In MI 1■11111111MWI Mu WESIIIIIMI

imogailliarqr•Fl SU M.2:2111ME11111SIMINIIIMEIWO1 =MOM ISM 10 _ 111,71 IN=E1111111111111M1 MEM IS P91.11 W OM WSW,W2■SWILLWIIIIMI SMEMUM - IWIMMIS Stint ,eAr) co &lad eOttriracigkin

is the Yrdone , • _ -

Note also that the falling m3 tritone is contained within the development of the Fig. 3(b) motive. The rising semitones in the treble, lower part, 2nd half of the bar (200],.1 .2021 and [204] (where they are also

'doubled) and rise for the whole bar's length are allusions to the falling semitone pattern in the second bar of motive 4(B). movement is upwards at the rate of .'a minor third [199-beginning of 201] minor third [201-beginning

(:)f203] and then of a tritOne [2037205/6].

[207-218] the patterning . arrangement-of J185206] is repeated, with

[105-190] - being shortene&to four bars (207 7 2101. by:omittingfirst,two:bars of rising thirds.. Its closer allusion to the second subject in the Exposition is reinforced by reintroduction of the rhythmic'syncOPation 1 4' Varied.to, 6 t' 4. 1 41 8 I 1[208-210]. Again the movement of the imperioso and harmonic background is by tritone. A219-227, first beat] relates to

119972061 directly, but uses the chordal repetition. of Fig. 3(b) sotto Voce rather than arpeggiation. This section demonstrates the dual :purpose of the materiel as harmonic at Fig_ 3(b) and - contrapuntal as Fig...'s.4(b), .(c) and

(d) by introducing the Idea of more contrapuntal lines within the framework 10 The example is given next page as A.

10 Figures A, - B and C refer to' the immediate examples included in this section.

66

Note the- movement down of the bass by minor thirds, outlining an

enharmonic octave [219-226], 13 ., then movement for a "cadential" feeling by

movement Upward of a perfect- 4th, C . In C there are two dominant

seventh chords leading to a first inversion triad. An interrupted cadence 11 from

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11I.-Mriii;••VAIIII•11=1••••■•1111•111111M1 WAWA ..AIN" ■1■11111•1•1111N11 14 II= 1101/W211111 4 P•POINIIIMI•••••=1•1•1 IMO IMRE MN • wassusnswimOi - IFAIN•••1•11•1•111 MEI IIPBMI e••1111111M111 ■•=1■1••1 . "NE • 111111.1111WEr MN O11•1•111•11•• 111 Z:1■111111111•11111••••••.1" 11•1111 ■1111•11111• ■ •• • I ■■ I .

5". 27.1-1110 -Li • • - • ireavimmos,0 ,5•IMPUMPIIMIIMPOITIS.11PraiNf:6-41-414111111UPWENINIMIP11Z-411.411 OWII1111114111M111 • A Ini IIii A .!--Mollalli111111:1.0illiiiral.Z.MAY:hilihiiithrill41-41111I11 AM, V ti .1-11111111■11111■41,41-4%M.111.111411A•P■rall r: MI I 11E11E7 L--;1111KIIMIA I I I I ; .1 I I I -M 1 1 I II 31 i 2 111 ' ME M ILAII•IMMAIM 11.71$■•••••11 WA Anil 1/111•41 IL Isa•lbM1 [11'./NINNINElltor7111r111111 us-M-111111111-V "IMMMIIIIIIIIIMEMMINI ■■11=11111MIMIMIMMIIIIIMIIIIIMINIIIIII OE MR Alt ME Ems wommemmi

VitIONIUMNI •EINII••••111Mrer."1■1101 ,11 Ell 1•1•M MB 11•1=1•111r ihig-41ira mum INIIMJ i 1.11•1=RIMPIP■ Limit ie! 21■111•111■11 OMNI/a•If Ill ■_Infillikiad•■ 111_,M1111iladlIN•le 01111MILIMMILI MUMW, MI,TI MMil MENEM= MEE

,... . 1111111116.211111 MIMI IL —*E-71 . ling as&d, -Mt 1 I I =Pep 1 IllarMIII_ . wilirsrpvineritTirsovs. PIA. 116 WWI !VOA& GM ;4u 11,1 Wm se.armik■. Joan", hi NI .11/11 Mime.. IC.. ' iirtrio4pmsm; rwillii. 41111■ Us ellILINIMme/JC7. hi I i 14 •%; VAMIIIIIIW MI: Lir.

Ill r..1•OrMS■ Milan 1111MilnE1.1M4 INIONSI2Cilll /WAIIIMISISIMIC1111.1

11 •.. sentence completed after example C.

67

' I # p• • _ f . I Earammos&INIffialliW.71/NUPRI IIIIMIII NPL2P■ WW2TRIPraIr.W1 //111161.112111111MINIIIIMIMMICialli/1411/ 1711.41M2 . 1.6 I armunaid11111P2d=11111■1111111J • * „ 101i. .11■0■ st fr31 st 11m111 ' ir;ione ba SS 11;le on I

LI.. !. 11 • imams; !MM. Ga•AIMIIIIIIIIMIlin • - VaINIMICOOMPIN EN111■111EMMI 110111EINIM=. - 1E:M11.1=G)201■11111.,31INGil•PA MIEV111111FEM.9•911=1111111=111-7/1 rwasisalmor■roi :memou • WIIIIIPENEWASIIMICSAIIMINIMIERMIN 'OMEN= "ftWraglI11.11m .ORTE.mim ni v WIIIMUNO/111/..NNOM -- -(9)- 1 ev"v1.3/1 I GI au-4"a U e the second dominant seventh bass line an t to the first inversion chord,. as

- though the section were in "A major". Respacing the first dominant seventh

to the first inversion shows its close line,or part, relationship, D-_

/ . I 11/0:2111111.1.711,:771■1111- ., WAIIIIMM:7111N4:1111Wari • 1111101111WIIIIIIMYFaliff0 OW semitone movement of the root major 3rd - and major 9th; . tone movement of the minor 7th (doubled) going to the major 6th - /11.7111:1111U!!.1111111111!1! E.rom.[227-246], the features use mainly: the' second subject area: Fig. 2.(b)

- for its rising third and falling perfect fifth, and Fig. 2(c) for its falling

tone ,then'alternating. minor sevenths.'' Figures 4(b) and 5(b) are also

.indiredtly. related. [227-234] are sequentially followed at . a-perfect fourth's

, distance [235-242]. [2437246] combine the ascending.thirds, descending

. pattern of.the second group of subjects with.the two bass alternatives

, arpeggiated quavers and rhythm J` J\7 7 of Fig. 5 (b) . [245-246] use

[244] treble and slightly alter it to 7 n 'falling pattern, (as a dissecting idea• .

The leggierissimo volando [247-250] alludes to the prologue ornament

figure and contrast the first note of the bass-semiquavers intervallically. 68

■ ME IL :TA 1 r -al NE. 2•111. 111•111111!7■1111111 MEM 111/ III I MI6" Ale:i a Ng,a11-"="Mia• _ =BMW AININ191.1rIll11 ■1111 .117. ii: riT argmusamonamsw , ...... a am, 1. .

ieledhjI.

la Milli! ! IN MIMI V! P AIM lum■ImEm MOI /IIII 1 . 4,7

It also alludes, in the bass line to the use of a first inversion of a

traditional style chord.to aid a "cadence"; here it extends-

The.presto giocoso.[251-262] combines motive 1 and motive 2 from the

first subject group in slightly.altered rhythms [251-254] against an arpeggiated

dominant ninth: in . the-bass. This corresponds to first subject..harmonic change

[40-43]; withthe earlier use of the two motives contrapuntally [13-16]

and [3435], [38-39]. The repeated Grt D # .[251-254] is a chromatically

- altered heralding of motive 1,..figure 1

of [255-259] is

basically. an. elongation,of.the falling semitone line in the first. subject area

[29731],..or . bar 4(b) . .

Fig. 1 motive 5 - is also seen:twice:F to J:minims, and E - # crochets.

In contrast,Hthe treble line alludes-to the prologue by virtue of its '

'ornamentation factor,. but revises and extends the use of motive 4 of the

_first subject area rhythmically_;._ d , . .171 ril 000 1 ari: . , . ° • . f 2 sintrAnsemmommummumairmimenumiummilmimmrrtai - . ...1. IMACAILINIMMUIMPII OEM IMAIII410/4111.11MI OPAINGIMPliaMiNUrilinrAlr wammum . OMILOMMWIMAMMUWIMMONANNIMAMI IpMiffogINIAIMINIAMIN• 11 11,11•IMIN■ IN/ 11/611.111".11 min'. 4.11.1CA=A111111 ■11M1111 4.11111116111612"111...1=■ 41111,141.1 FM.

up a minor third fromcriginal statement [17-20]. (3 6n.. 0.

. The meno vivo [263-270] acts as another episode, using first subject

. motive 1 in the bass line upper part at [263-264] and [267-268]; Figure 1 69 motive 2 is used as the inner part treble line [264] and [268]; Figure 1 motive 4 is in the treble inner part [266]; the first treble statement

263-264:

ralrume. usamm • --mum11111 • re/A =MN LS I-al n4-ed --"? A. arid S. la M1111,7111 I= MIMI! U FiaLI rubjeci

The use of the semitone movement continues [265-267]. again finishing with the minor seventh leap downwards, [2681 [269 and 270] allude to Figure 4 section's treble line expansion:

/Th -,Figure 4.delays the semitone movement until the 'bass harmonies change. 'Thus G. and 1/ have dual functions.

' 0-S •

The cantabile meno vivo repeats the fourth' group' of themes as in the

Exposition meno vivo. But it is a semitone higher than the original; and the only change is that' Fig. 4(d) has been arpeggiated and includes the additional "tonic note"; here B , in the bass of the arpeggiation. 'Also, where the lines, Fig.'s 4(b), 4(c) and 4(d) converge in a:descending arpeggio of the sounded chord notes, here the.arpeggiation is ascending and exceeds the register of the chord given, with, echo allusions of the last two notes of the melody marked. . The cantabile extends from [271] to [280] and is then interjected twice by Fig. 5(a): at 1281-282] a-semitone higher than its original entry, and at [285-286] a minor third higher than the

70

[281-282] entry. Two bars of the cantabile tune, minus the last note and

'accompanying chord.are juxtaposed to'Fig: 5(a), the Fig. 4(a) melody in

octaves. As in - [271-280] the last two entries are at a perfect fourth apar

From (289-305] marked allegro, the Fig. 5(a) originally marked allegro

fantastico is developed. It commences at the same pitch as.the'last entry

at (285286] i.e. a,major third above the Exposition original and moves in

- a 2-bar phrase, then a 4-bar extension idea as follows:

'St M3 5 an e.. Nt-

5] E?Y`t L2 ?-3

M3 P 5thr e

/. ,L sine 4- -t- 1LJ _ mammy, moliEnimr-a_ ms=ammommommsammmEmplomme mmommomm IIIIIIIEUMIONI■IMMENUMUIZIMION INF INIINNIMPIMM woommormsmommommummEmmmEmuummemmomrlmmemmemmismpFammmaimaimmAmmohammmAmmEm.••

r1.1311001604111111NRI EMPRINNINIV-Wasimmwarimms.:■•■:- .... easrantpramin■Lmamigannuasu llomor i OINIIIIMIN=IMINIMMII WIIIIIIMMINNIII■1111 WOZUNISMINIIM. MI P■1■11 11111112111MIIIIIIIIMM IMINIIIIIIM•1111011111 11 SWINWANI6111•1* IIIIMMINEMIIIIIIIN111=1.11111111M rINVIEN airtalsa!N

1 at 7 f'Lo 5 crni, d Ceilh M 3 )

Pianistically, the semiquavers n7 become chords to . generate increasing

urgency.. and movement to the next section.

Bars [305-313] combine elements of the third group of subjects. The

quasi trombe imperioso call in the bass is contrasted by.the Fig. 3.(b) sotto

vace idea. This area is the lead-in towards the climax, formed by increasing

the rhythmic complexity. Other facts aiding it are the use of the Fig. 3(c),

[114-116] 8 first inversion movement up a perfect fourth to proportionally

the same chord relationship in the bass, seen as perfect 5th dominant

[305-307] and [309-311] (Fig. A below). Also as important in the bass line

8 Fig. 3(c), p.48. 71

/ IF MN 'AM '71=i .TallIM =- is the juxtaposition of the augmented f411•11::1111 AM= ''-...4••••••=lilIMMII Eta Oil AM -JIB :•••111116=111111101••••• IL.T4 V ;%.11111. • :0 0 &MI a . fourth perfect fifth interval (Fig. B).

10111M111 •4111 ■ ■I I I C I I I •a MIIII I MO 'alai I fAMIIIIIIIIIPMIIIIII 0 "211111111111 .. 1"_17 MISR Ar -BB _ QUM' WIII■•■■:ta'','•• • 4 ......

The Exposition meno vivo of great cantabile quality has been

transformed into the climactic feature of this sonata. From [313-328]

this occurs. Of the original Figure 4, parts 4(a) and 4(b) predominate,

•with octave and harmonic additions.

Eala -316 • .. - . N iIMe 411!4•11•1111 11•111•M••1•11 111111=11111•1•1 BM MON •111O;/ AEI •I MIME SEIM VA 11•1;1 ItIMMS.W. M IMMIEVP■I MIMI MENEM __WI.A• MIMI III I LIMA '44 !•11.141131••• • MI Wd idEMI ME •LIMMINI1111 1111•1M=11•01•••••••=1•11111 11•111 11.• mmilmame 11■44weem e WM

wiesmrimarmasnoriergimewmurivirnmsmmommumaisoram■m MINIM LIM Ifs wirA 0.■ 71//11•11LAIRIMIIM:1=611111111ft— VA:he ua IP IIIIII r -.■141 11••••■ MUM •••11M•Mq B&W E:VI "MEMO 'NE• 01 IPACI!MI Mal

IOW •1141•!MMIN1■11=11 MO IM IN &MN /41111•1•1•11111•1•1•1 MM•IIIIIIIIMII INI 1•106-11MMM1 II•V 1111111101111111 fliatANIN,11•Pl-31=11rtrin4 ME Mg 111111•111•M•1111 ■11 =MUMMY' EMI VIIIMBI i L\t• ONWINIMIMBEIM Mr li•IMININErn••••••=•/;.... i 1•IM INIVEININ 1 saw _ klw.,_ Awmfr MI Ire WINIMISWINIIIIIIII IMO11 MANI ' ri•-; TIP 72

Again Fig's 4(c) and 4(d) ideas are more interdependent. But notice

that the sustaining of the chord reached in [315], parts 4(a), 4(c) and 4(d)

remain these three parts, nottwo•as in the Exposition. - Also notice that

repeated chords, creating rhythmic complexity of four against three are Used

in [315-316], [319-320],- and [323-324] instead of the arpeggiated•descending

figure. The repeated chord idea sustains the bass sound reached in .[315]

and the following similar places. This . four against three is also anticipated

in [312] in the treble.

In this section, the juxtaposition of tritones (in both forms) and

- perfect fifth, as in the meno vivo, and [305-312] is similarly exploited.

Each chord represents two bars of contrapuntal movement:

araimm•romimmon ardosairommisoimirsi• ■I

I n td c g • 1 rn. j d sT I 1'7 br 1 1 PS (--(enhc.i.-mcnic) ci4 I The expected B to "finish" the section occurs as the first note of the .

-Recapitulation.

RECAPITULATION [329-456]

Almost without exception, the Recapitulation follows the traditional

• sonata procedure of restating the subject areas in the "reformed" key.

• As the restatements•do not conform (like the, rest of the piece) to a key,

a viable alternative is each Expositional section with its

• Recapitulatory equivalent, intervallically.

From [329-356] the second subject idea is restated, down a perfect

fifth (or up a perfect fourth later). No developmental reworking of the I „ 4 , I initialjjjjwith harmonic additions in the Exposition occurs.

73

The group of third subjects is repeated verbatim at the interval of

a perfect fourth upwards. It extends from [357-3801..

Also recapitulated at the interval of a perfect fourth is the fourth

group of. subjects. It occurs from [381-400], with the only variation

happening .. .Rhythmically, in the lower.treble line [392-393] where the

tied note is held to a group of. five quavers to be played in the time of

three (i.e.* .J.1.11J.1.) rather than [131-132] in the Exposition counterpart

of ( .7.71

Both ideas of the fifth group of subjects. are recapitulated, but are

. extensively developed along With motivic and-thematic material from other

areas.. Fig. 4.(a); ; the two-bar interjection is extended by its own

repetition and sequential repetition of this at the minor third •[401408], . - in the treble line; the baSs'1ine maintains the E .pedal point whilst

alluding to the minor third elevation. rkoi - 40.2 1 i4.0t Rfiesro t..4- 03 404 4 idiaa 11•0 ■711/KAMEINI1116. IMMIE•111111111111■11.011111111•1 AMY 11W...%1=1=101g1114 JIM MIMI vlIl 11:1111111111111111111111•11E■11111111111111111r C11:1-11111111111T MIIIIIIIMIr 111•11411111111E; s'TAMIIIK: =NC MM.. IIIIIWW- ir i, ,c-on uno ea id,reaact

MEM NIIINGIIIIM116. .41.1 a f°1111 WiliZILIMII•11111111111111, UMW .11116 INN •••••••■• 401... 402. PO41'S'. 4011 4404 T WPM MI Tia. EOM rilEM1111 111.10■11.11111 ■1110■INIMII /111-111 *11:11=1111.1•11 IMPL• M•1 11•1111M M17.1111 10 p ■ ■ •

I. •

Exactly the same material is used for [409-416] but the triplet 2 6 repeated chords in the treble line instantly recall the Fig. 3(b) 4 8

repeated chord grouping (i.e. Ji.i ) . - Thus Fig.'s 5(a)% and 3(b) are

combined: .Note transformation from sotto voce to vertiginoso con furia. 74

V er-kisi ru:31,3 c40 -curio • -St_ ' 1 .. . r. I - ■ . raMiller&■ =1- 3M MC NM- Milua llirMitlialM -MML_Mr-MILMIIII_MiliallW11/aMilirNp=i . 11111110MINIIME-1M MalidIVM! III MMIIMMOMIMINIPENEVERIMIEMOrnallinlICIMI. RAP la1 I 1 111dIMINIMELBMI MI M I I ilirt r Man WINIIMMUI•6017,11=411•1_=.41111=.617.=.111111=2.M111 IMINE•111111•11111=11111■1•111111111111IMIUMINNIMIII N M IIIIIMI IMMO MI= rio q-7 sJ , L41 10.■ 1 •

The Section marked con luminosita [417-432] is based on four harmonies

over an E pedal point:

/43

0 • ct.)

03 ai2/-.243 E4.2,3-.323

It combines the imperioso (quasi trombe). theme in the bass, repeating the

whole pattern up a perfect fourth: [417-424] repeated [425-432]. Fig. 3(c) is _

repeated [425-429] from [417-421]. Its harmonic change on the last'chord,

.causes the pianistic writing to indicate the last chord for. the.right hand,

whereas the rest were written in the left hand. Against the imperioso, the- .

derivation.of Fig. 2(b), also seen.as the.treble line of Fig. 5(b) occurs,

shifted across one quaver beat so that. the falling,tone falls on the second

beat. This pattern is led in by Fig. 3(h) repeated chords each time for the

first i.beat, and occurs [417-421] and [425-429]. From [421424] and [429-

432] the treble exploits the juxtaposition of minor sevenths, in rhythmic

'variation and augmentation of Fig. 2(c).- 75

Ilse of ,the seuengs cram ..2Cc.) Iva on. -7 . i i 0111!"S; ir.1 111MIRAMIE1111MANIIIIII ■ II UN 711111Wa MIL.M11■1•116/111111 I MI AN I artuw.mmamicamoimmk..■ 11 WAINE MIMI ..11•11.11•111111:110111/1,4131111 WI °WOW Ili I iial11111111it; ANK•7111111111111.1 -1111111111111111; MI I W t a IM'I I tnIE*2 irati■ill•••• MUI:11111 WIVIMILW EMI I IMMININIVIIIM4P rIllil I MIMI =II I alb OWNIIIMIM nit I 111V/RiliNINNINIM I NM MEI MINI are. L4412 - 423 -.142, itOrti atiA fAt )4•44,;c parani

In contrast to the use of the seventh, the bass'line . features . semiquaver

.arpeggiated added sixths, rising through inversions [422-424], and descending

. [430-432]: In [4321 the added.sixth idea 'in the bass is returned to the 2 0 3 Fig,-3(b) chord and alters the' meter t 4 • 4: • These arpeggiated .semiquavers recall the continuation of Fig. 3(c).

The section Marked estatico . [4337440] combines: Figure 1 motive 1 in

augmentation - with Figure 1 motive 2 against a variant by the.bass line only

of the-Fig. 3,(b) idea.... It also includes the use of repeated chords and

' the alternating . semitone figure of the Fig. .3(b)- idea in.developing:Figure 1

motive A. The•variant of Fig.. 3(b).,and "development" of Figure 1motiv6

is indicated, e.g. A and •e.g. - B respectively

11111111 •11113M. MIL MW-M' 111•11111111111U1■1■1:.+MINVIAM11-,•2- W-IlLY W. 1.11:01101■11101111r1111tilK,M1Mt • • • reerivarwl- • • • k hulls And. aro 1-cic./ OiSa ,^1.0,213± EC. A. afld Ad 21' ocivp-ea £.44,-. a/3 pedal 1ool:1-14 - 4 k "ienic 4 Au_ a 4.:.1/1*.

ds,)134 di IS lie i-wo 'Dews of- R49 . "...4.7:4. 44 eran,s ase.d., .5,, 4 pee /4a . The sjilt /" e-oWisti.ec. vet bi . ,Afferr-A..1. c c kw. t e. in1;50.1to 2.9"'"1"' the. • 1L.7

76

_Note.also the reintroduction of rhythmic complexity four against three to

- . exaggerate or heighten the harmonic changes. of one note each chord [437439]

then return to the triplet rhythm for the more complete harmonic "change"

or "progressions";

OEM =NW= 111•1■911111111111TIMINIIPM111 OEM %I 11•1111"."_. NMI f. MITAIMI IN 6 NC !!!!4 •

d.. MN !;:•• MI .10. NM MS= 01:1111111311.5 PAM= MEM MIMI MOM II al MO MEW MIIIIMPAIIMIlre MI MOT MUM. AM 1, 1 - . ltete

The final section, marked presto, embraces two ideas: Fig. 5(b) and

that of the Prologue.. Fig. 5(b) re-occurs at the interval of a.perfect fourth

.higher than in the Exposition, and is of ten bars length '[441-450] to the

Exposition's fourteen Only one imperioso statement is heard [444];

allusions to the imperioso - occur in the bass line [447] and [449] with the

use of the :().1,N. rhythm The same motiVic andisubjectivefigures

are employed, With the re-appearance of the prologue [451-7456] in part,

thatfis, of the pattern being repeated over five octaves, and subsequent

paused silence bar, the sonata concludes, This reappearance is important

in that it re-occurs at the original pitch, in contrast to the rest of the

Recapitulation; - "transposed" at the interval of :a perfect fourth upwards,

thus conforming to the key-relationship . principles held in . traditional

sonata form

A:summary'of Sonata No. 5 is provided. 77

ADDITIONAL NOTES ON THE SUBJECT AREAS

1. Second Subject area: 147-52] specifically

a!‘ ract I rn .1 tin Ifi IJ .rj Tr] M 1 L---1 L—J L—J

up irt3 Up M3 down T doi.mn T . down T down aifer-rmioly Torles

Somme no-ks. used Placement of the rhythm in the bar remains consistent with intervallic

use as the sonata progresses.

e.g. (a) [59-62]

62 m .FT] in 7 1] 7 .q [7 rarn i - L i— LJ LI_ L-1 up, M3 gdoev-^42 -61, 4 up 7- 40Wirt I up 7 down 7 • - rn 7 Is P1/ cainpast compaiss.

(a) [591 directly relates to 148] and 1491 by the various displacements

in th first beat.

cbl [60] is an intervallic - inversion (M7) of [52] which alternates tones

to the same rhythm.

Cc) [61-623. The rhythm used is less closely related so the pitch

usage is different.

Cd). 163-64] repeats the rhythmic and intervallic pattern of [59-60],

but at a tone lower.

(e) 165-673: This three bar interlude uses the 7.177.M pattern but the intervals are modified: i. fl . L,F1 nL__J I Mj clOva r; up M3 I F14 cornfass

2. Third subject area:

The first idea, marked imperioso, acts • as a heralding of future . events,

evinced by wide intervals, accented rhythms accompanied by.n murmurs.

The second idea, sotto voce, is used as a rhythmic vibration. This

is a Scriabinic device, and is related to his philosophy and preoccupation

78

of flight and delicacy, and ecstasy. It is also an embryonic form of

his belief therefore that trills were uplifting (the.top note alternates

by semitone) . 1

The third idea is less "independent" of previous resources, so the

rhythmic basis of the first idea is used, in relation to its common

marking, imperioso. To differentiate, it has the additional marking

quasi trombe.

, 3. _Fourth subject area..

The first four bars contain the four parts and therefore the four

rhythmic patterns.

Of interest here is [130-133]: LAI J. spli In!

III &WA ds ips+ I ciS cut%fl. ,y)

autl; nes P4 au /lines eu cu-ili nes P.C'

[132-1.33] is a rhythmic variant of [130-131] . But what is more important

is.that:the melodic line is oUtlining:intervallically the harmonic progression

by the same method that is employed'as a central function of this work.

4. Fifth subject idea. The bass line of the first motive: i? A 7 I, 7 I n 1 .1 1 can also be feasibly -derived from the metrically changed retrograded 8 belonging in the presto con allegrezza. Hence , when the presto, but now

- tumultuoso esaltato.reappears, it uses this rhythm to compare against 0 the B pedal point set up in the accompaniment. . The now

combines previous use by alternating-a rising major third and a falling

'tone of a perfect fifth in compass. There .are three imperioso statements (i.e. of Fig. 3(c)) but the first two are incomplete: (a) : 1 1:11 I 4 an J. and (b) 6 1 J.. before the final complete statement (c) 8 i liJJ. J. J. .1' 1 See Faubion Bowers, The New Scriabin : Enigma and Answers (London: David and Charles, 1974), especially Chapter VI on mysticism. The trill as a compositional device is related to his philosophy. '

79

5. Development and Recapitulation

Development of material proper begins at [185] where the presto con

allegrezza rhythmic syncopation in the treble is combined with the

imperioso rhythm and shape, incompletely firstly in the bass, then

fully in the treble: [185-192] 6 -I J`.1 It' .1\ .1 1\J (i)s- 2 J (siy-J J . (1)J-7 J mipertcso J I-7 J. 1 .1—] J.IJJJ I S At [199] the alternating semitone trill takes place again with tied

•syncopation, and the bass also supports with syncopated offbeat repeated

, notes recalled from the first languido section G # , E # etc. Note that bass

movement is also down by a minor 3rd each time, culminating in an octave, as

the languid° [197-206] •-• [29,-33], The top line is also from the languido

• section in augmentation. This top line combines, again in augmentation with

'the rhythmic vibration featured in the imperioso section, to progression

[219-228]. Bass movement is also down by minor:3rds again to an 'octave b t

is enharmonic (from D to C#) and then the bass vibrates the last two

alternating chords to "cadence" as a first inversion interrupted-style cadence.

Development continues with usage of the presto con allegrezza motives

till the leggierissimo volando at [247-250]. Here uses the beginning

;appoggiatura of the Prologue combining with the allegro fantastico bass

• rhythm.

At the presto giocoso a parody of the falling perfect fourth demonstrated

in the treble is imitated at the diminished fourth in augmentation. The

first subject, motive 2 also reappears, and allusions to the appoggiatura at

the beginning are observed. Also allusions in [17-20] are made [255-262].

, 80

The meno , vivo further develops the melodic ideas. Only "new"

rhythms result from the wide chordal arpeggiations which are expanded into 3 1 a 3 .PP 1 2 bars of • 1` .Ff5=1 FTITIT5 I MITFYI- Lc."( 1 [273-274] from a 1 bar

&,Z 6261j g‘Ai -- - - -

The treble . 1: Ill I!' liltf ■IIIIIIMM■iedil.111111a* .6 AM MIME Mr IlLAIILM/A711/11P NFU'S!! IMM [MN ra a711M1111•4111M/NNIMII IIIIIE NM AMIN : llr../M1Nfe !I" 711111111MIK J115111•11ri • a.

also used the first subject, motive 2 injuxtaposition.with - ,a varied [19-20]

combined with M7 use of the presto. Further exciteMent/development. is

. worked by juxtaposing the-meno vivo with the allegro fantastic°, then

-developing : the.allegro fantastico by extended sequence up a tone [281-216]

and [297-304/5] . .

The climax for this work juxtaposes main motivic elements, the

repeated chords with semitone-trill idea on top;'pianistically filled . out, 2 3 the quasi -tromba imperioso.call in.the . bassi filled out, the languid° top. 4 two lines and the . descending contrapuntal semitonal melody filled out to

give the equivalent harmonic background as in the original meno Vivo (egs. 5 . 1 and 2)

(N.B. the harmonic fill-in and Dernova) *

I • • / PIMP • all.) M111■40110 r 1•15111■1•K : 1111Ma= 111111It ; CIEIRMO Tr. R. CUL R:IMO L E If 11111711 _ 11/11•1=P111•11 MIT EMMEN EMI a a ra UM= :111•111111111111111111111111111111 11:.±. es murms Emma 1 neuraarmil...------.7.•_4■••••11117.: r. :TA, VI MI =■• 111111111111111111■11=1•11■71&= 111111111111111111111•11111= 11 LaZAI 7111111/M1 ■= NMI El 161111115.7e MEMO NNW c •■111 1•41111111 M NNW 1111LANIP•11111Lii WP! MI sparsfimonnowarr alsium... arm EN _MEM _MEI W.;;:. 111!/0.7

015-3113 k2.2-0•231 •••• • • • Ira wry:mil 111111411111 .11,11-11 IILMAIIIJNIIIIKJIBUNIJIIICNIMIN 11111111111 .111111

a! as ■'■ EME111/41MAIA111111P114111A111 MIIIIIIMIN rim ■ one im A= EIN■ 1, 1f:11M11111•134irs- ■ NI la */•112 It JMIV•114/111RAIM 114 K NI IMLTAMVPI111111LASItlf1111 1•11 0,1 11111111 AM ILA ANNUM. MA.M111111=1(111•11 NUallr..2/MIIUMNIZIIIMINIMES/1 MI .■'1 111111M*1111111 OM' mill111■1111=1 NM /MEM* IAMMIM WNW 1 'a •A 71PL • AN MI M•111111W41111 ■INWANN. . . le

How the harmonic figure-was changed, is as above. The semitonal motive

2 From Fig. 3(b). 3 From Fig. 3(c). .4 From First Subject Area, motives 1 and 2. 5 Descending semitones are also present in the Exposition Languido.

81

LI Si 13 1 .1 J as compared to the

octave F E:b : j j‘IJ .The accompanying figure (FS)(Eb l alters from arpeggiation through the chord to repeated chords in a 4 against

• 3 rhythmic pattern. This 4/3 is significant in the last section of the at estatico , - piece ( ], particularly on its entry at [438]; the jjjj 434-441 .173 IT3 IT] alters to J-11 , culminating in 2 tin rn 471 triplet bar of both [ to lead through to the final presto, which uses the presto tumultuoso esaltato

at [143] up a perfect 4th, or recapitulating at a "tonic" level. This then

finishes with each subject area with the exception of the prologue recapitulating

up . a. perfect 4th or down a perfect 5th.

The prologue, now acting as an epilogue, is .restated at the original

pitch, in its latter section where it repeats its pattern over five

successively higher octaves. It reinforces the importance of the

intervals used and exploited in this work:

..------■ I ....e..,-.■ ■iiiPli ! WM 41111•1011/iiiler MI ,LiAsitAININ f A MI 71111•111.111111i111 11k U-.1/1111111:1111MENIIIIIINIA PM EdatAll .10111/1101Eli bail 111111111■1•11■1115/11 MI IMMININIIIMMIPII suirma till uill!.■111

Wilma ENPIIII1M0 re IF■like! copwria MINIMIIMOK NNE r411111■111.671 Will NI ' I WAIL% 'A' • 82

Summary : Outline

Formal Construction of Sonata No. 5, Op. 53

Exposition [1-156]

. Prologue [1-12]: Allegro, Impetuoso. Con stravaganza

First subject area: [13-46]: languido

Five motivic features

Second subject area: [47-95] Presto con allegrezza

1 Theme: development of three patterns within the theme

Third subject area: [96-119]

Juxtaposition of three ideas, each marked by a descriptive marking.

3(a) imperioso 3(h) sotto voce and 3(c) quasi trombe imperioso

Fourth subject area: [120-139] Meno vivo

Four ideas exist, the top two contrapuntally dominating, the lower

two harmonically more important.and interrelated

. Fifth subject(s) area [140-156]

Two ideas exist, the first is marked Allegro fantastico, the second

presto tumultuoso esaltato.

Development [157-328] References refer to the basic material used.

Prologue [157-165], up a tone. Allegro ,impetuoso.

. First subject area [166-184], up a tone. Languido.

. [185-246) elements from the first, second and third subject areas are used

. Prologue [247-250]

. First Subject area [251-262] and allusions to prologue by ornamentation.

'Motives 1, 4 and 5 in the first .subject area.

. [263-270] First subject area, Motives 1, 2, and 4, with oblique references

to Fourth subject area, semitonal "expansion".

. Fourth subject area, up a tone, and fifth subject, first idea, up a tone

interjects [271-288].

. Allegro [289-304] fifth subject, first idea. (5(A)) 83

[305-313 beginning], figures 3B, 3C are juxtaposed

Fourth subject area, in toto, (but transmuted) works in conjunction with

the 3B (or inverted 4(B)) contained within it [313-328]

'Recapitulation [329-456]

[329-256] second. subject area, down a perfect fifth

' [357-380] third subject area, up a perfect fourth

.[381-400] fourth subject area; up . a perfect fourth

[401-408] fifth subject area . (A), up a perfect fourth

[409-,416] harmonic repetition of [401-408]. Combination of Figures 3B and

3B has been transformed from sotto voce to vertiginoso co furia ,.

[417432] 3(C). versus 53, and 2(C) and 3(3), marked don luminosita

[433-440] Figure 1, motives 1, 2, and 4, and 3B

. -[441-450] Presto. Figure 53 uP.a perfect fourth

(451-456] Prologue; at original pitch. 84

USE OF THE RHYTHMIC PARAMETER IN THE FIFTH SONATA

In this work, Scriabin demonstrates that his use of rhythm is consistent

with conventional treatment. That is, he uses an identifiable rhythmic

pattern which relates to a certain theme or motive. But, once again, he

extends the function of rhythm in much the same way as he extends (melodic)

thematic usage.

. Contrasting meters and rhythmic patterns are juxtaposed to clearly

• define melodic material and:developments. Their very dissimilarity aids

evidence whether material is independent or. interdependent of or on previous

matter. Especially important is the exploitation of the rhythmic patterns,

internal subdivisions, and increasingly complex cross-rhythms generated in

the Exposition; thus the rhythmic factor is also developed.

The rhythmic material of the Exposition is outlined separately, and

how it is used as a further .developmental resource is demonstrated in the

- -discussion under the Rhythmic Material addendum placed at the conclusion

of this discussion.of.the - thythmic Parameter.

• 2 Basically, the. Prologue uses more complex subdivisions within a meter.. 4 Besides the 1 to 1, 2 to 1, 3 to 1, and 4 to 1 relationships, the employment .

_of 5:to 2 is used. More complex still is the unequal- subdivision of two odd

quantities vertically contrasted (Prologue, Figure (C)). The main division

of the top figure is into two equal halves, the first half being subdivided-

again . into fifths; the lower figure is divided into a triplet. The main cross rhythm of two against three i..e.{ J71 is further complicated by the 3 extra subdivision. The idea of 5 against 2, and then variable A on 5 against

3 in an oblique fashion is used by Scriabin in his later developments.

The first subject area differs from the prologue in two ways: firstly,

its rhythmic drive is achieved through constant changes of meter, and not

sub-divisions_within a beat; and secondly, within all meters, all vertical

propositions have a ratio to 1, e.g. 2 to 1, 3 to 1, etc. Also the smallest

unit of any of the motives is a quaver, the unit of the time signatures.

85

The second subject area uses cross-rhythms - though nowhere near as

complex as in the Pfoldgue - within a single meter... Resultant rhythms

generated are illustrated under Figure A of the second-subjeCt_zrea.. Where

cross-rhythms are not used, ratios and proportions are conventional, shown

under Figure B.

• The third subject area contrasts its three motives by their distinctly

different treatment. Motives one and three use different rhythmic patterns

for the bass and treble to contrast their mood (imperioso) from motive two,

which uses the identical syncopated rhythm in both.to-aid•its sotto voce

. -marking. The fact that motive three is almost identical to motive One in

rhythmic treatment demonstrates its derivation and dependence on this motive

and earlier material (intervallically). The meter is 6

Within the fourth subject area, there. are no complex sub-divisions 6 within the single meter ( ). Rather the patterns highlight the independent 8 contrapuntal nature of (A) and (B) especially, and are less differentiated

for the inter-dependent (C) and (D). The ratios remain simple,. and phrasing'

remains even : e.g. 4, 4, 6, 4, 2.

Both meter and phrase lengths are contrasted in the fifth subject area.

.Motive 1 uses simple duple meter_with.e.combined rhythm of 2 7 4 11751111 6 - Motive 2 is in 8 and the pulse is basically Maintained in the . bass while

the treble is syncopated.- Already development of the rhythmic factor is

in evidence; as Motive 2 is to some degree derived from previous statements

this is to be expected.

The rhythmic factor considered important is the development that occurs

and results as a change of meter.

Observe the bass between motives 1 and 2: the later working out of the PAI 4 74 4 second idea with. the 4 J I .1 .1 I B 7 [140-141]

• !171,n 11 [151-152]

86

and further: 8 J. 11 J153] _1154] _1155] 11561

change of meter is seen by the correlation between

I and and j1141 68 BIl 4f)V1 2 4 f9 1J l and 6 F9 1 J.

-Motive. l. is. two bars long in its entirety; motive 2 develops an idea and

the phrasing is as follows in number of bars length: 4, 6, 4.

'The-first indication of rhythmic.pattern usage in the Development occurs

1191-192],1195-196] , [211-212] and 1215-216] : .1. J%I\1

Horizontally, the top line remains simple; the lower line subdivides

- into a hemiola or.cross-rhythm - first -bar . of three equal parts, and . five

eqUal:parts in. the second-bar. Vertically the first bar remains simple-,

:the seCond'bar has a five .againsttwo rhythm over a'bar , line, rather than

of a beat; the bar oE music is Subdivided with 'the cross-rhythm.

The second indication occurs from 1224] to [227] :

C 3 6" 6 J.i..i.Li.if.I.1 1 .r 4J--jjil-ji 7-2 11J J .1\ 8 Y .1 .1 .1JJJ aiN i = t t 4 I 4

Laterally, the top line contains both the usual subdivision of 3 quavers

with the more •complex five quavers to be played in the time of 3 quavers. -

The lower line divides all subdivisions of 3 into duplet crotchets.

• Vertically three against two alternating with five, against two occur.

i.e. J and J J11 J sound within the same time span.

•87

The next indication lies in.developing the meno vivo material as a climax, [315-316], [319-320] and [323-324].:

four in the time of three normal f normal Cross rhythms are four against three, basically, with a slight variation:

.J. . .1 . . .1i=f1= :7 .1. J. .1 11. . (/' eL) ,..• 4 .

Bars [314], [318],, [322] and 1326] slightly Vary Part,(B) . of the meno vivo material from -j J77.1 4J J.I4 •

The Recapitulation progresses normally till the-final allegro, where further development takes place. In [40941. 0], [411-412], 1413-4141 and

[415 ,-416] the following pattern occurs: . 3 3 3 . 3 2_ J--.n J7] -J J J j-Tti ->`'- ) 14 • r' - • • - ( re-

• 4 A 7 . .11 Bi J [ The resultant variation On three against four takes place in a simple time. 2 6 y rather than Compound time ( ) though both duple. 4 8

•The final display of rhythmic cross-rhythms [437-439] in the.eStatico: -

. cl Ph 3 .r 117 '77 Tri /73- 1 izrn fri5 • .1=21 . 111,

43-73 E.43rj L43 613 E440/ Again the cross rhythm is three against four: 3

...... •L L 88

and secondarily (top line against third line): anci J > • 4 .. .. . drff ILL L L'•

As evidenced, Scriabin's use of the rhythmic factor is more frankly

•experimental than in previous. works.. But his awareness of the oft-neglected .

functions-that rhythm. could serve to diversify and unify .a.musical composition,

led to.more extensive exploitation of this parameter.

e9 gi-i'Y T HAI te M fiTER IR L

PROLOGUE proporAons fr.,,.....,....--,... r I,--- 0) 74, I . 2 GI and (A) 4 -3, tiirj, (3) a 4 fFn / (c) .1 FiliT) 5 fo .2 aild / U.1.1J

# (1)) an d 2 I-7— J io 3 iadiv a;.72;. n in P

A aTi.r ci r 1 10 1

R R K §- ...... ic . ,.. _ .21s- L, L_ 1. ( aG G. :.nr% A...an dena rin;rtairts-

laerci/•prois 0 3

cr 6 •/0 h (s) ryi n 3 10 ; 59 2 : ir r 5'1 r s J 44=IJ qM.-7 ..I=JJ 4.8=B7 3 :

FIRST 50 83-ECT g 1? ER

Molly e I 1J J r Maiive np I Al0i;ue 3 J. .1• IJ. J Molive 4 47 4.1.1`.1 YJ1 `1.1 J‘ Y.1 Alotiue. 6- 4 c) 141 J

90 RHY -THm1C

(SE CO N D ,S0 137-ELT AREA

(a) (c) A. 6 `1J .1 !al .117 7-3 .1' rip (1).1):i AT. J • s r r t r r-rr r r r 4 I r.,rr rrrr rri.rr

{i .some, re,s Hizr)/- .1 from Variationd

J. Z J —*T1 Same i'esuMar,-/- r-Aj i 2C-on, +/or; crico 173-7 •

J-2 1 J

2. Uncomptc po -Herns w Mii) *Ad. n le;/-er- clue/6

69) 1.11 `i .12 2 •(13) .1 1`.1 (c) .17) 41T2 , and 60) •111 cf. L A-Lble.) (6 a.a) (bas.s ) (has- r) Lass cliccAssat LO jr,,r r i

Dr.11.. cAanse_., 46E5/44;na dui • r2.r U llow Ar f".1 fi-ei—/I h ih,`?1-A • )

CS-7- EC : s • 117 "1 •1 .4 L39 90.1

Si v Or; n'IL ; o ft • c6m6;4e4 these ;c1e.a - R311

THI1CD 5OZTECT PREP

IY1 o-I-;ue, I. 6 ci 13 - J. (2-m tr;o s g .555155951 .51131 .Ff= 0 .2. JTJJ-T3 in in v 5 MITT] .FT-FT3 m (Scrfit Li z_ .17-7:rT] .171117- -) Mofiue 3. (1.D J. .1. a rlid .71-A ni c C inhun erk/1 .13M ffiTZ J. 0-c 41 641-VeSI gild

91 RHYTHMIC 11/1RTERU)1_

FOURTH SOB ZIECT FiA&-A (c9 (1.1. .1 .1\ .1 (t3) .1-7•3 1 rEfi

) .1. 1 J.1717. Eng/

503LTEC.7" fiRER Mo--Fwe. : 2 .71171 17/- .7 1 4----I-711earo Can7Lasilcd Xi .121 frt 7 Preit esall-a3 in rj .n 1.1J 1.17 1.17 SJJ. Js. 173 1..11-7 .11-"a I

G-tiltr- Lass vacial-ions : rnaiiae. .2: 1 fin : g .13 11 1.1- 11J= 1 %1 I Om 4—* BV I C4s/ PV Om MO I , rAcc AM; cally -iv /Aa Ai iar. 92

'THEMATIC TRANSFORMATION & THE 5TH SONATA

Further analysis shows that Scriabints fifth sonata undergoes the

process of thematic transformation. Indeed, the process is not new,

having existed since 1822 with Schubert's Wanderer Fantasy and 1854 with

Liszt 's Sonata in B Minor, but its use in this sonata is, overall, more

extensive ..

Thematic transformation as a compositional procedural technique

- evolved as an answer to the dilemma caused by the expansion of nineteenth

century tonality. This expansion led to existence of more remote tonal

regions, increasing chromaticism in melodic lines,- and changes to the way in

which harmonic rate and harmonic rhythm were handled within a. work.: These

'factors undermined tonal strength as.an.organisational and unifying

structural procedure. Hence a single constructive principle of organisation

had to develop out of the predicament.

The technique of thematic transformation involves exploiting all

musical resources that.would be employed to create a theme, motive, or

melodic line. From the basis of pitch comes, vertically and horizontally,

.pitch patterns, melodic and harmonic shapes and formations, intervallic

relationships, intervallic outlines and melodic (or lateral) and vertical

'compasses. The rhythmic parameter influences meter, harmonic rhythm and

harmonic rate occurrence, and ultimately the.speed-and directional force with

-which the pitch element makes its impact

An overview comparison between the Schubert, Liszt and'Scriabin works 1 demonstrates which areas have been exploited more by Scriabin. The rhythmic

parameter gains in importance as it is used Consecutively, in-chronological

order. As it is increasingly recognised as.a separate resource from melody,

and therefore available to 'rhythmically-specific procedures of variety and

organisation, so too it expands so-as to balance - the tonally-expanded concepts: 1 The Schubert work is generally neglected in favour of the Liszt sonata; the latter provides a more comprehensive comparison to the Scriabin sonata because the treatment of both pitch and rhythmic parameters is more closely linked. 93

The use-of rhythm and meter in the Schubert is classical in the.sense

:of regularity and homogeneity of the phrase lengths, pulse and textural

. configurations within the movements; it is subjected. to traditional harmonic

and melodic procedures. .In . the Liszt work; there are four basic ideas, all

originating from a single source. But Liszt assigns each idea a distinctly.

.different rhythmic pattern and shape to. define and create a different form

of , .There are more varied patterns, greater variety and

'use' of meter and rhythmic subdivisions, and use of cadenzas and recitative-

aria kinds of passage's using the basic material.

Scriabin expands the rhythmic parameter still further. Complex

'rhythmic subdivisions within the bar, by syncopation or cross-rhythms

(e.g. , 5 against.3) occur side by side with frequent changes of meter (e.g. 54 6 the Languido with its8 8 and changes) . The rhythmic patterning.to 8 the • .various subject areas in thiswork is still more distinct'and separate than

in theLiszt.

'1Vith.pitch procedures, more variety Ultimately becomes available

- .-and vital to.the success of a work as the expansion of tonality occurs

the Schubert the harmonic language was still traditionally diatonic with

Chords such as Neapolitan and augmented sixths .and allusions tothe.Neapolitan .

key used as a temporary colouristic effect rather than Structurally organised.

-Phrases, themes and motives are still working within a-strongly-defined

-Alarmonic'-framework.

The Liszt sonata is based on the opening section, i.e. the minor 3rds,

diminished seventh, and outlined shape engendered. The use of the intervals,

compass and shape is more specific, therefore when it is transformed it is

more procedure-to-single facet-specific. The rhythmic factor varies its

stress and placement within the bars and so highlights different aspects.

94

Examples are shown with some transformations below

e_ [1 43 71/11WIN nub _rfemium...ow Nr•-=■41N11011111111r 191=111111=110.111 4111110 : er/IIIIIMPUM1=1■111•11 WO= IMINMINII INN Mil= I i 111 ■ fa MILIMINIVIMall• ram. =I Willi/II IMILaff 41111I NW•11■11Milm WAIN MIMEO= =I UM" MI I IMOM‘ Witi. INLIMIIIIIIMMINP =WIMP! In r411111UVIILELlut

THEME 1 : Opening bass [1-5] : two altered descending octave scales

Egs — ci•23 asisTommiammoot smoisomm essmonakrismssummumilimos ;summons's= I IIMIIIM1111.41 NR•111 IP! I I 111/m1MR:a C.1 111011Milld 1.107111/1411 :11•111111=1111111■111111M IMIL■J'IlVeMWM MI IN= IIIMINNIVali ANIVA•MMIlelel MI MI 1111•MIKAMIM" PLINIO IMW,f_ li• • 10/ NM NMI II MI 11111111111WA

1. bass entry expanded • against A oStinato treble pattern tontinuingto (104]

-4- Ev-m4 a - I I • IC s . ow, ill or twrimiC.ms lam aim EN rams mmhasw-usswiwasrari mimir Till•11111111111111111111•11L I IN= NM 11101111•IMM111111111 MUM MY...0111m/INII•11•1111111111•111111 1•11M111111WLAIW....■111 Imo 111111111111MUIPP '

2. [191-196] Use of theme 1 harmonically : filled out in counterpoint against

Theme 3 variation. 1 4TP-AV1 .1 T, , I■ =NO •11•1 ■111.11 :711•1111MILIMMIIIII:1111 A Mil ;114-4MMIlrillislINIMIIIIII Mall 11111111:L.AiMPI= OP MINI OEM 11111111111:01/111•PM 111P-M110/711 Mal NM 4111111111171110111111111111= raiMILIAINIPVIIIIIMINM4111-4MMAIIIIIII IIIII•rINIT1111■11/7VIIIIMP NIMPVINPIE Willi= 111M111111111MIAIL NM JIM ■.:1, A JIM OMNI III 1•1•1111114.111/6 VIM GRIIIMNIIiii111111111911111 =IA. at 111... •r• _ • • . f ■ /

3.,[277-286] as climactic figure against oscillating, treble once again

leads into a theme, theme 2 1 THEME 2 : [8-13]. Importances : , Use of diminished seventh,

8.-133 aid

A MO INA fa MUIR 2=11MIIPMWPMEON MING: IM111•61111/ IN1171111110111MUMNININERMil lb.- 1 %IV

minor seventh, diminished octave -(enharmonic.major'seventh) intervals

from the longer values : G, and A) 2 : phrase" shapesand compass made from

a variety of starting points (e.g. (a) A4 start to D, D4 'start to A,

continuations, and resultant compasses 'and intervals. 3 use of descending diminished sevenths

in conjunction with rising diminished 4ths and 5ths.

95

rm. rill..p.-AinwallIMP■1111111111111MIIIIINLIMIM1111 711111NARIMMINVIII =111111:■ maim 11111:- .ARIMILU :11111L/Iiiiill A 111=0■11 11111•111•11F inill1.1111nalliThriMMIE11.1111..ALMAMIIIM VA 11111111 ■ =NM II WI NSA !Wire WW1 INIIICwi/1111

1. outline retained, semiquaver diminished seventh movement [25-30].

e. ALAIIKIIIIIIIIMISLZ■ AMOSIMMilfrALIMPONIMINIIMINV I 4111lirillr111111111■1111•11MINIIIMINILEMINAIIMMENIIIMMINIVIIIIILMPIIIIIIIIMIII 4ammr IBM Em...m...... m.mm...... 11111111MIIIMIMINAINIIIIIIIIIIIMINIMEMMicaMINMS I ,ZW/A■IIIIIN■ ■■•■■■•..■.=■■ =011

2. based on subdivision importance lies

• in the contrast and retained shape/

outline of the compass _ ol 7 .

perfect and diminished fourths and the way in which they are used.

' EF-4 1 gvA - - :ermoommo imm "taPMEMENNINNI■MillM•DI•131•1•P•MIUNIMI Ma. MIT IMMO .1.■ MEM.:ANIMMINMSIMPIMINIMMIIIMAdO NUMINIraiONIINLAMENI INNIMMIENNELAWIN. !Van'111Maiall==la! CANIMIKAINE:=1MINNIt- KAN

compass m6. Outline retained. Intervals'

- Changed : descending d7 to m6, ascending

pattern d4 to IY13, outside compass p4 to m3 descending triplet pattern

now part of octave major chord. Concordance and movement continue until

diminished 7th descent to end of [83].

-41. 46-41=ereAMENINIM•1111iihdlliChill111 ,71•11111•111ffieb.A11111111 ■11M11111wan-emormrmirnms IMIlle.Z114* M I MallIIIMMENIMILIIIi6IIMKTPRIIPirM11 StILANI WillIUMMEFf ra au = • ...m.MINIIIIMINIMIIIIMESid6drailININAIK -14W-JE MP 'QV = = Ira I • • rn 4. 111.1nROM ,

Outline retained, intervals of 3 retained of opening rhythmically

altered, extended 1st 2 notes, retaining relativity of the rest.

• ii Attila MIIMI;111111 ■11111111 raer-mmrriorri:bmnirmar_ INWRIMMIIIMPIK TS116111111PIIITSMINI • 1•16; MINIM (14- 111MMINIII OM MININII■MMIN 57:11illiNCIN MI kulr2issIMA IA 117:111•=1•1 IIAIJIIIIIIIMINIMMIIMMIIIMAIMIIIMUI Nir NIMINIMOLJIMMIS....- ■RALIIIII■111114 V.' 4 L041 f a S.: 0,1 7

96

5. - Outline retained, but displaced to • a weaker beat in the bar. Examples

.67-3_3 below also show how Outlines can be maintained, and how interval,

rhythm and slightly altered treatment can occur, but still preserve unity.

frir Fdr,

/97 -2O3 Ca. /7 "a a

■•11. •

E2 OS - aio] • 0 IMIrt ist MIIIIM•111=1•1111111 _zair;'indom

sa 11.106. 111111111111.111•1.■ ... :7•INLINIIMMINIIIMMIIPRIMMIli e.rimmommussmin mmonli&daTammwmommilmmiliM simarimiuma X•NL:110i■irli•IMMII•1lI•MMIBI•MM6E-ZIMIZh■MIIIIIMIIMIALWM==11MMEIMMMIINII1 1•1202Nr MINNE•11.1■K1111.1111MMOONIMMININ I wamomit assummisma•mia miNummi alpra ,ri■repi aim mamma al■ca.apratrw mos ,

C2:3 24023 -4- • .-r- -6- -6- • • • 10, t missminlimaw

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THEME 3 : Characteristics : repeated notes, outline,

a3-153 41r*—ms----ri;tT I -aFT-T-- gt I S] 614 )P- d# 'mg e43 I T

treatment and shape are similar to that of Theme 2. Pattern is repeated

up a tone.

Figures 1, 2 and 3 show techniques of augmentation slight rhythmic variations,

using partial sections and implied vocal writing.

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THEME 4 appears later, at [105], and owes its origin as much to the previous themes in phrase-compass, shape, outline (retrograded .& varied i.e. A to GA) as it does to the rhythmic pattern 32 CA ci. .1`

98

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related to theme 1 by descending scale idea.

related to.theme 2 opening by [112] outline, compass and shape i.e.

a wide descending interval initially and ascensions, though.the intervals .

are smaller.

related.to theme 3, again in [1121 for the same reasons though the longer

value is held, rather than repeated.

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Here theme 4 is declaimed, with the Recitativo adhering to its compass,

shape; and intervallic basis.of [112], treatment; accompanied by diminished

'sevenths:

..:Throughout the rest of the: work, all material is as closely related as

what has been shown above. Indeed, thefugue contrasts the subject

• (themes 2 and 3 combined) with a variation on theme 2 as a countersubject.

, EpisOdical , material is derived from all themes. A "recapitulation" follows

and still utilises the opening material. The work finishes via theme 1. 99

Fifty-three years later Scriabin undergoes the same compositional processes in the design of the experimentally-based fifth sonata. 100

- REDUCTION ANALYSIS

•The chosen style of analysis was taken in terms of Heinrich Schenker,

the German-theoretician who recognised that chords had a dual function: - He

- postulated that chords could function in terms of the language equivalents

of nouns or_verbs. . "Nouns" were chords of structure, and "verbs" were 1 r chords of Prolongation. Thus "... not-every chord is of-harmonic origin."

This is the crux of one aspect of the analysis..

This argument is further elaborated:

"The term 'harmony', therefore, should - only-be used for members of

ajlarmonic progression;' they are the ='harmonies' in the truest sense

of the word because they are connected on - the basis of .a 'harmonic

associated.. 'On the other-hand, all chords not based on harmonic

association are products of motion, direction and embellishment and,

.paradoxical as it may sound, have a horizontal tendency. They result

from the motion of voices since-they are generated.by,voice leading and

,voice direction and :called contrapuntal- chords, in contrast to

-chords of harmonic. origin.

To-conclude .'theharmonic chords are also structural chords,

.constituting the structural framework; the contrapuntal chords, on

the other hand,. are simultaneously-chords of prolongation, because they

prolong and elaborate the:space between members of the harmonic "2. 'progression.

- -Although Schenker is analyzing specifically tonal music, the fact that

he recognised the duality, that is, that the horizontal - or linear or

oontrapuntal - factor co-exists with the vertical factor - or chordal or

harmonic - is the justification for the argument for using this type of

.analysis. Schenker was more specific about results.of vertical or horizontal

predominance, and maintained that: "Through its power to subordinate tones

and chords in order to extend a single chord in time, _chord prolongation

1 Selzer : Structural Hearing : Tonal Coherence in Music, Vol.'1, p.14. 2 Ibid., p.15. 101

. creates tonal entities, it is thus an•organising,force.n 3

Scriabin was in process of forming:his musical philosophy that melody, -

and harmony were aspects of one parameter working with respect to time.

he assimilated these dual processes intuitively into his compositional development

towards melody and harmony into one workable compositional resource.

In employing the Schenkerian-style reduction analysis, any rhythmic motives

or unifying features would be eliminated in the quest for observing the resultant

harmonic areas. Melodic and thematic features would also be superseded in search

. for.any possible harmonic evidence or'vertical bias indicatedin the results.

The difficulty that arises, is that the work is not.traditionally - tbnal,

but based on its own system of sound patterns being juxtaposed;: being wrought

- internally by.a different method. Some areassuch As - the opening allegro

present no real problem. But other areas such as the-meno vivo, which

.eventually succumb to reduction, pose the question of whether the basis of

'validity for what is eliminated in the foreground-middleground-background

process is consecutive, successive and logical.: Then..further'analysis

involving speculation from a different parameter.must- be sought.

Indeed, the reduction analysis- helps outline the basis, and type and

quality of the harmonic areas. It is easier to see as all rhythmic impulses

have been expelled from the analysis. To illustrate the Viewpoint, the - 4 .:Exposition of this sonata will be discussed in some detail.

• For example, Fig. 1A/1B-reducesthe opening Allegro to three basic ideas

•of a sound pattern. No change has occurred from the actual composition to

- the foreground because everything used is compositionally integral to the

further functioning of the work. • From foreground to middleground, the

rhythmic impulse, the pattern repetition, and the pattern repetition over

3 : Salzer : Structural Hearing in Music, p.17. 4 The reduction analysis was done for the Exposition & Development only of this work, deeming the Recapitulation to be superfluous in regard to any new procedures taken. Figures lAto 6B of the reduction analysis are placed at the conclusion of this section. 102

five octaves (i.e. over registers) has been discarded. . The appoggiaturas

and small-note figures are in parentheses because they exist as less

independent, though separate entities. They have their own distinctness,

but are subordinate to the main (intervallic) shape of the ideas expressed.

The long unfinished Efr brace indicates the size of the idea, and the long

ID° to e, and All to E ll bracket shows their intervallic and integral

relationships both horizontally, vertically, and together. Changing from

the middleground to background, all arpeggiation and tremolo effects •

disappear,'and a basic sound-pattern .emerges- The intervallic - examination

reveals:

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-- The-usage of tones, perfect fourths, augmented fourths, perfect fifths by.. juxtapositions, and avoidance of the octave are the crux--of this compositional

.section.

Figures 2A, 2B, 2C and 2D or the Langtido section also reveal the basis

on which the area is constructed. From score to foreground the reproduction

is almost verbatim with the exception of some rhythmic articulation. Phrase

lines indicate related subject material. From foreground to xliddleground

much more extraneous material is eliminated. The repeated descending

'perfect fourth motif is elongated across the longer phrase in conjunction

with.the descending harmonic figure on the bass. The treble figure is

open-end bracketed to show its structural importance. Also underneath

this bracket are the parenthesised subsidiary minor third figure, the

phrased linear outline encompassing a perfect fifth (middleground. TO3

• lower line.G# A# D# D /TC# 8#) - and its echo statement DITC# B#) further

along. There is a brief interlude of a descending minor third pattern

before the laminar pattern re-emerges, slightly altered, down the octave.

This pattern.then uses its falling perfect fourth idea to proceed, respelling

the intervals enharmonically to. indicate functional internal change within

the phrase (e4464 D# to A El) ). Then the (again, enharmonic) outlining of a

perfect fifth occurs, by repeating this pattern up a semitone, then up an

-augmented fourth. In its middleground to background reduction three main

, ideas emerge: 'Firstly, the falling perfect fourths 'flank the internal

falling augmented fourth. Secondly, the falling perfect fourths suddenly

compress for the movement of a perfect fifth, after an extensive initial

playout firstly, and less_extensive but substantial second appearance.

Thirdly, the rapid change of "harmonic rate" as it 'canbe descriptively

termed, forewarns or anticipates the sudden silence, and entrance of the next .

group of ideas.

Figures3A and M. reveal' the use of an elongated static harmonic ostinato

being used to cushion the sequential two patterns of falling tones, one of

- alternating minor, sevenths (tones in inversion) before climaxing in the . falling tones '147-52] [53-58] longer divisions [4767] alternating m 7ths - [59-60] by 'a first . _ 1st inversions & augmented [61.-67] inversion major seventh-chord. Then it resumed the former patterning,

with bass note additions. Movement is then achieVed:by sequential

repetition of two..rising perfect fifths in the bass line (by perfect fourth)

Complementing the major sevenths and ninths retaining the intervallic

outlines previously set up. The last perfect fifth bass statement is.

balanced by the use of the minor 7th, and 3rd in the falling-tone progression.

The bass note addition is significant

as it is a perfect fifth lower. This

is in the. foreground. 104

• .The, foreground to middleground.transition . further highlights this

- intervallic,outline,and what is closely related. [47-67],. [68-88], and

[88-94] can be seen to be.sectioned.logically as a result of these intervallic

relationships. The harmonic pedal/ostinato and the extra additions of the

fifth, and rising perfect fifths can be more clearly discerned. Also, the

change. within the chordal structures of - the nature of the 3rds, 7ths and 9ths

indicates the internal-to-the-phrase level of dependence that the chord has

been-granted.as a result of the positioning and choice of intervals.

From foreground to background reveals the baSicharmonic ostinato changes

on which the thematic material is centred. It also shows the addition of

the lower perfect fifth in the bass line simultaneously makes the'first

harmonic areamore ambiguous, whilst.anticipating'the positioning, layout, :

:and:parallel usage of the movement of these harmonic areas.

Figures 4A and 4 3 5 , [96-119] rE educe readily to this system. The foreground

- displays all melodic and harmonic ideas almost verbatim, whereas the middle-

ground links the implied and.real harmonic structures as two contrapuntal voice-

-led parts.in the bass line. The middleground treble line shows the contrasting

nature ofY.the imperioso versus sotto voce ideas, yet their relationship to

former'sections by. virtue of their intervallic outline can be easily Seen.

Further reduction to the background identifies the parallel nature Of the

.harmonic areas, and the way in which Scriabin transforms material (e.g. rising

semitone pattern obliquely related to the falling tones from earlier

sections) in progress to the first inversion major seventh - the "climactic"

chord, again used. Then to elongate and move to the next section, an additional

lower perfect fifth (C) again appears and moves up to a perfect fourth (F),

•against the retained original sonority.

5 Explanations of figures 5A, 5B, '5C and 5D are crucial as 'theirreductions

demonstrate fully the system to which Scriabin adheres, (here; intuitively,

and in later works, consciously). The fact that all the contrapuntal. lines,

5' Figures 4A and' 413, pp 7 118-119; Figures 5Aj 5B, 5C and 5D, pp.120-,123. 105

and harmonic/homophonic lines converge into this ba s is is the 'first

proof of'Scriabin's treatment of melody and.harmony as aspects of one

' parameter. Because of this, it was considered vital to firstly separate

the parts so that the independent and interdependent contrapuntal nature

of the lines could be shown. Thi s , established, could then succuMb to

the traditional reduction demonstrated in previous. sections of this work.

The foreground figure illustrates; the upper contrapuntal lines are

cushioned by a constant accompanying sonority of a dominant seventh plus

an added lower tritone alternating. Repetitions and a±peggiations of

the sonority disappear while the two upper parts maintain their level of

, independence and interdependence to the whole.

From foreground to middleground the two lower parts merge into one

'sonority. The upper parts retain their outline. The:top part keeps the

. first and last note as the changingfeatures as these are of primary

importance. Here it changes from minorthird to perfect fourth, perfect

fourth and perfect fourth held via tritone/semitone movement and finishing

- , perfect fifth before the last perfect fourth statement. - The tritone/

semitone movement is .(subliminally) anticipated in the internal structure

of these intervallic outlines where the same movement, tritone down/semitone

upwards is to be found. In .contrast, the second.tontrapuntal line uses the

:alternating'tbne-idea from previously now alternating semitones in the

initial part of the statement - with the falling semitone pattern, encompass-

ing a minor seventh. The tone/minor seventh implications still exist.

From foreground to,backgrouna all melodic lines disappear and the

. resultant sonorities only remain. (See example next page.) A see-sawing of

. certain notes can be seen .against other constant notes. These additions,

that look like delayed suspensions and create a distinct traditional lack of

resolution are the key to Scriabin's development. 106

Bpcke-Revivci

The last.group of."subjects" in the Exposition are demonstrated in

6A/6B [140-157]. Both contrasting ideas use intervallic material from

previous sections as their compositional basis. In-the foreground,

the bass.B , from being-an additional note, plus possible tonic pedal point

in the previous section, is used here definitely as a tonic pedal point

'through both ideas. The first idea is based.on a first inversion major

seventh, and acts as an interpolation.. Its treble again uses alternating

.semitones [140-140]. _The second idea [143-157], breaking down - into

successions J143-146],J147-152], (by expansion) and [153-157] derives the

falling tone idea of 3A/3B with ,the last imperioso statement of 4A/4B.

Against this and the-pedal point, various chordal sonorities are placed.

Further reduction to middleground reduces arpeggiation, accentuates

differentiating phrase lengths, outlines accompanying sonorities, and b illustrates the duality by the bass B sounding throughout while phrase

openings and closing in the treble outline Ftin various registers:

" 1:07

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Tr ' The transition from middleground to background follows thislogiCal

: process. The main interest liesin the internal_sonorities where semitone

.:contrapuntal movement occurs, to alter the chord structure from first.

inversion, major seventh to "tonic" chord (and lastly to other tonic chord

up a semitone with bass tritone - the perfect fifth of the previous chord -

retained , as.:an accented note)

The rest of the reduction analysis follows similarly. But there is

enough proof in the Exposition material that specific use and ordering of

'certain intervals: and Chords within- phrases and epiS6dital Material odour

deliberately in his compositional 'process. . That they do not conform to -

a traditional sense of key (by cadential implications, etc.) is immaterial;

they possess consistent internal relationships to each.' other. Scriabin

useS a certain chord or . interval to identify a position and frame of

, reference to the whole. This harmonic blueprint also, by its kind and

:relative positioning will either generate new movement, Or provide.a

-suspending harmonic cushion around interdependent contrapuntal lines.

For some brief examples, the use of first inversion major sevenths,

augmented intervals - especially the French augmented sixth - dominant

seventh and harmonic ostinato formations can be analyzed quite specifically

in relation to function. The first inversion major seventh is treated as

a chord of resolution, or cadence figure after a sequential rising series of

augmented chords are heard [96-115]. lOnce established as an "independent"

chord it is used as a secondary seventh preparation for the following chord 1108

acting as a dominant (thus movement of a perfect 4th is the bass).i.e. maj 7.-V7 acting as progression II modulation into the dominant key of the

key-signature. This function remains constant throughout the work.

Augmented chords, whether French augmented sixths,.or whole-tone

formations on sevenths, ninths are used to extend the line by oscillating .

with a parallel formation or similarly-structured chord at the distance of

a tritone In the bass line. They are concluded by the appearance of a

seventh or ninth formation. . Again, this is a consistent Principle within

the work.

Dominant seventh/ninth formations acquire two closely related functions.

They either have abass tritone - added in ,every other appearance in a pattern

where they Are used .(e.g. meno Vivo) or alternatively, move blitritOne to

another formation (e.g. : French augmented sixths as in the sotto voce

misterioso.affanato or. enharmonically respelled chords with the tritone

added [1957198]1.'

The-act : of respelling a chord enharmonically when 'a tritone has been

added also indicates the change of funOtion:from-progression to a form of

resolution or cadence figuring. [l95-198J and J215-218] are examples.

The crux of Scriabin's compositional system in this work relies on his

• use of the tritone interval in conjuction with the.perfect.fourth and

'perfect 'fifth. Where traditional harmony (perfect) cadences is by V-I

.movement where the bass line moves upwards by a perfect fourth or. downwards

by a perfect fifth, Scriabin scrupulously avoids these directions of these

intervals. .Allusions to perfect fourths and fifths implications Instead

are retained in the treble line to function as focussing points within these

-experimental procedures. Examples are in the prologue, languido, and treble

outline in the meno vivo sections. 1109

Instead the bass line either reverses the direction if these intervals are used (e.g. going downwards a perfect fourth in lieu of upwards), or negates the implication by adding a tritone step within the movement of the bass line. It moves further by semitone to a perfect fifth which then acts as a chord of resolution. When this occurs, Scriabin continuously overlaps this process so that the "resolved" chord also functions as an

"anticipatory" chord or chord to be acted on in the following measures.

This procedure is a crucial step in Scriabin's compositional development towards his eventual procedure. REJ)VL.TlDN. ANAL 'iS JS : hase.eJ 011 J/e,~r~-J.. ~henf.er ·

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5E, (hello li VO I -.All AAP IIIII•11111■••11•111 MA . "7•111.111111r 111•MisEMIMIN.-■111•11WINNIMINONNIZ MIMINMUIMIMMIINIMMIltil AMI: IIIMIIIIINIMMIIIIINIMINNOMMILidNIIMINhM•11 f•i■N, emml■•••11•1111•11M•SVINIIIIIIIMIIIIII lo MN wow MOISIMINi• ALL sz./AMMIli INIaLMIIIIIMIti IlloilibillI IMIll •1■111MINIMMIl • 61111/ MOM- --- ill - AI. All- 12.5 2.4 1.2.1

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123 DELINE1T1011.) L3F- LDAITIM PO AJTI L PR RTS : .1/

mmuf _roe • WAINI ■ INIMMJIMIA NS ormoirimm taimega om Mal ran II

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126

EVOLVEMENT INTO HIS LATER HARMONIC CODE

.Even in the 5th Sonata, sections of this work show features that

intuitively follow his harmonic.code . development. The meno vivo 'section

has, almost without exception, succumbed to the analysis of the stringent

procedure that Scriabin imposed upon, his later works, as much for his 1 theosophical beliefs as his compositional growt. The starting point

is taken from the reduction-analysis background of this section. 2

1. Take the Meno vivo-section. The„general , Schenkerian background is

as follows:

0 0 0 0_ •• 0 0 0 lr • • 0

a LI 0 0 • 4;4 •

Key signature is that of major (or G minor) .

rititl 2. Find the LIJAS- of B and respell it at the tritone:

Pesediak 74.1.44e

I 4 4 I 4 ' • #.5 7 8 3 erAcirmen, c a I I 1 i I 511■11'..f • 111••■■11 ...11=ro.1•1•Ig 1:0•••Li ir• • •11111: - '4,•■••-101.41, PL•111111.1•1•M•

1 Hit beliefs are expounded in detail in Bowers: The New Scriabin . pp.104-127. 2 See:..ReductionAnalysis Chart sections labelled background in 5A, 5B, 5C and 5D, pp.120-123.

127

3. Take each form of the 24ti

Split into two dependent chords of this chord, with the three moving -

at the tritone.

l , • - .-. is,' is w*::. 1..11i..: . • WINW7 MI fa IMAIIII A 47:4!111 /. — — /IIIIIIMI_ - II IN; V •IIIN•kaa*:14Z i.- !Iv: • Z.

. I nal :MK als/IIIMIIIIIIICM tATIIIIHP'11MIMINT'Pvli i 0 I1 fr.i AIME,' 11/•111111•Ii•MI:1•31•111141MIN7 1.s; MINI yin DI:S. a. .4. 7. • •

. 4.- Show the internal tonal relationships within each chord.

• fie MI MEM !MOM Tr!. riff 41•111111■4•11116; :4111111111111 #.5

3

3 Add they and W accessory tones to the integers.

I • ■ !WPM= I fluIMIll la* 4 MI 010' :VIM., 1•11111 11111.111.111 •1=111 • /*lie • :•Bllii fa IMP/ I IIIIIIMMI"'WMIIIIMTIIIIIMI !LAM 4 I* ••■!•11t. I Nor spasa"..7.ass: miimmomm

.• sAt• timemem■mmuummmwrisown.mas•.1 .1■ yasc, ctammitomempe■E•wals• s•is; a i .zu ta•L4. &mu lifiviNM'S•JMNE4om';amowl •to

3 The V is the major 6th belonging to the Departure Dominant, the W is the major 6th belonging with the Derived Dominant, according to Dernova's code. 128

6. Now, include the related tonics, Ta (or Tonic (a) for the Departure

Dominant Da) and Tb (or Tonic (b) for the Derived Dominant Db)

/ • • . p • p.6 . • ia•MINIEUPT MEW I 1•1.1.1111Z .' 41 IMINAIIIMII I IIIP.. _I IIMMI 1...:I llMEM .1 -..1 " 110/111111WAIMINIMINIMEIMMIll - PM. I ,_. • W. TO IS. - V (63) (4) , b El ommum. !I TIMM= !ili■ Nal .•1•1=t1 ■Italm. a' ' faiil'' ?4tstm. i =mow ultommos ..Tom=_ . !rm.= •1_-.Asma....— wmialto■mmism ot: ••.,..z.:,....v.. Km t wiwilla . - I I , I r r I I — 1)5 • • ii 6" -7 Tk• Ll ' NA/ ' 3 • i CO 1 1 t • I i - - (1P! ) , 1 1 • . raft a• I NM! TRIM JINX .101MS; 1.:allIMIC- gaINIIIII I f I al: iie I .17-1111111111!Mallie .11■4111111113:111111111111 ' 100/AL: riy2tmo I - r •1.••=ims, ismost.tomaivizamt -, • .__

Using this information, analyse the basic progressions: b ka. .D to Er( verifies that the

two chords are dependent on

each other.

D replaces the. "missing" #5

of Da, or M9 of Db.

(.1) 17 replaces V of Da, and W of Db)

*The All is 366 (as the 7th) in

the Db

7 3 **The FITisGli2 (of LS) in the Db. a,---„ 75) C ***The G il i (or ---5) in the Db.

Del ie.- Da i:442

. Intervals are counted from the bass note upwards irrespective of interdependency with another chord. 129

These - three chords

Note parallel movement:

of thedominant ninth

Chords ..

. This is analysed from the bass note upwards, and is obviduSly a passing , M=I Modulation to E Major - note -modulation - to the subdominant-key, - one

of Scriabin's.favourite modulations, to date. The progression is

- The "tonic" j) is sounded to clarify the shift.

. if the fourth and fifth chords of this overall sequence are re-arranged;

- the structure is more clearly seen: .G swaps roles from #5 to .(suspended)

0 0 13th -(which(which is then resolved in th 0 •00 0 next chord.

clown si- .F (acting as #4) moves down a t> g perfect 4th to C (as consonant M9). 0 ti !old' and 'new' now-co-exist.

NUANCES, OP. 56 NO. 3

:Introducticin

Although this piece is of only eighteen bars length, the control in

the compositional construction of all parameters is clearly demonstrated.

Moreover, the linear factor displays continual overlapping, implication,

and introduction of new lines. There are basically four lines present,

but the middle two lines act as a single unit. So it is seen as contra-

puntal writing in three parts, with the rhythmic factor's specific function

to elucidate these Parts. The symmetrical layout is also extrapolated.

Analysis.

The rhythmic factor in this work is the most easily recognizably-

controlled:area. The three parts" own distinctively different characteristic 1 Apases. The fundamental unit of each. line is as follows:

top line Ici. I J

middle line ch J. I ci.

bass line In III I'

Variations by phrase extension, slight alterations: to the unit, and

retrograding of the unit's components occur, but the piece retains its 2 inner symmetry. .

The phrase.length variations easily aid the symmetrical layout. The

,top line is followed as the representative example: j . ..11J. and its sequential extension .11 J are balanced by the longer developed phrase of 4 bars length: J 11J. J J`1,1.

This length is then repeated to strengthen the progression and

modulation taking place 14 1 J. J l• I A. J

The new key is established by a short statement, reversing the

1 See Rhythmic Basis: "Nuances", Op. 56, No. 3 1 p.134. 2 The symmetry referred to is demonstrated in the analysis of the two. bass line components. They are used to.define the basis of the source of each bar and hence illustrate the symmetrical layout..

131

J:N components by repeating the cadence:

- tie configuration maintained)

Modulating back to the original key, the lengthier phrase using

the repeated component unit is used: 11.1. .11\ j.

and the final statement, to re-emphasize its purpose, uses the

,rhythmic pattern of the cadence in the middle of the work:

- Shifting the focus onto the pitch parameters, the bass provides further

clues. This line can be broken into two basic patterns:

a 4)7E.- pcd ) labG11J 0.

The eighteen bars form the configuration

0 II

El is the basic 1 pattern but the interv al has been slightly altered in • the movement from the second to 'the third beat from.a minor seventh to a major sixth.

C is the [ pattern acting as the pivotal bars from which the two differing cadences establish themselves.

A 13 . A 1 Xis a 11 structuring over the bass note. So 0 illustrates the .structure 9 of this bar.

1i3 2

13 • As is two consecutive ()patterns which do not include the 11 structure. 9

Together the two patterns i and 0 form two larger configurations,

-called, and

= 10

/ / /

•The overall construction is now seen as

•

I 0 o / i0 0 / / .0. c.) 6f-

•e -includes the C) bar, which is not of strict construction following the 0

layout,

On comparison of the bars following the pivot Pointe, the harmonic -

occurrences are as follows:

X0 0 0 where the key is . established at the tritone interval

CI where the original key is established by a 4-3 suspension.

By separating thep and" patterns, the internal 'symmetry can be

ascertained. A vertical line is used.

24. I Ill 1 0 har_s

Having provedproyed the internal symmetry, focus is shifted to the two upper

parts. - There is a multitudinous effect of layering, and linear . implications: 1:33

h'ne

11,

iniernal -Fun anal c.,Aaftele new line in-k-oduceel r

• • ••• • - 11■111•11=6±MINIK•MMIllet ill.w.m." iii••11■111•111/-1 • 71,71111e!ro711- 01 ozarSitl111■1111111111111111111MAIIII :f

Already in the space of six bars, at'least three new lines have been

implicated and introduced. The existing lines continue.their descending

pattern and disappear into the total framework, as much due to pianistic

possibilities as for compositional clarity. 134 ANALYSIS : SCRIABIN 9TH SONATA.OP. 68 (1912-1913)

Overview

The ninth sonata, also known as 1 E,e Messe -Noire" or "Black Mass"

sonata is much more straightforward'analytically . than the fifth sonata.

This is no doubt due to his harmonic language now being firmly codified.

By virtue of the pitch element conforming to his code, the rhythmic element

can be viewed as a much more independent parameter,- working, in.relation to

the whole. Traditional horizontal and vertical (formerly melodic and lharmonic) analytical procedures are used.

Scriabin in this work has developed the use of the rhythmic factor 4 within an almost completely-solitary use of a singletime-signature, for 8 ' 3 5 ... the bulk of the work. Only four bars of 8 , •and four bars of 8 briefly 4 4 . 'interrupt the even count. Near the conclusion of,the work changes to to ,8 4 emphasize the march tempo slowing down the previous harmonic changes and the 1 ,augmentation procedures applied to the melodic motives and:germinal cells. , 4 ' The return to for the remainder of. the work plus presto marking and 8 . .diminution of events in the alla marcia section concludes the work. Flex-

ibility and the illusion of. its improvisatory quality .have been achieved by

uneven cross-rhythms and sub-divisions, within the bar, and within the beat. -

Unlike the fifth sonata where different ideas were consecutively juxtaposed

in the main, the ninth, sonata is able to . dis-integrate and re-integrate

motives and themes by virtue of its use of different regular rhythmic cells

-which distinguish each idea each time it occurs. Some.procedural_examples

include rhythmic repetition of. a note to shorten or elongate an idea, 2 ' ostinatos, syncopation, diminution and augmentation.

Pitchwise, as this work conforms to Scriabin's harmonic code, the

lateral and horizontal elements emanate and develop from.a very small basic

unit. Indeed, the codification allows the chdice of whether the lateral or vertical - or both - elements - will be exploited. In this work Scriabin

• 1 This occurs at the alla marcia [179-204]. 2 Examples of these procedures are'provided in the analysis. Only five-six years have elapsed since the fifth sonata was composed. 1 36

extensively employs lateral freedom and consequent contrapuntal possibilities . -

whilst severely limiting his vertioal choices to three . blueprints. In addition,

each part or line, can be shown to be both independent and interdependent of

other lines and factors.

Of relatively short length and duration (216 bars and approximately.

nine minutes long), the basic sections of the work can be divided as follows:

Sonato No. 9 : length 216:bars.

•Exposition: [1-68]

• Development: [69-154]

Recapitulation: [155-178]

Coda: [179 ,-209]

• -Epilogue: [210-216]

The terms here loosely describe the - function'of-each area, as each part

is far more closely related than in a usual sonata form. • -"Subject" area

- . groupings divide into.two main parts:

"SUbject" area One covers [1-33]; "subject" area two includes [34-68],

two evenly divided ideas. Each subject area, can be further sub-divided.

Subject area one sectionalises into A111-22] and A2 [23-32]; subject area

two separates into B1[34-58] and 32 [59-68], again proportionally equivalent.

The material of' each subdivided section in the Exposition is the complete

basis of the work. "Subject" material; groupings, ,and description 'are. listed

- below. An addendum ofthe areas is included.

"Subject" groupings

"First subject" groupings:

[Al]: lateral : [1-2]

: [5-7] top part

: [5-7] contrapuntal melodic inner part .

: [78] top line

Vertical : interchangeable use of M3 d7 M3 d7 (M3) d4 M6 d4 M6 (d4). in bars [1-2] continuing 137

: Alternately construction of dominant seventh chords, . q 1, 13 i 413 - alternating a major 9thwith a minor 13th, i.e. 37=-17-1T-1E

descending and ascending in minor 3rds, [577];

: Use of a minor 9th construction containing a tritone as

the lower interval, and perfect fifth as upper interval

[7] [8] [9-10], and rhythmically oscillated.

These three vertical occurrences are the only "harmonic" blueprints

used by Scriabin in this work..

[A2]; lateral : [23-24]; by 2-bar ideas. Basic material of. upper part

[23-24] is 4 8 /11 1 TM 3 t Material "stabilises" [25-26], is repeated upwards' by a

tritone [27-28]..

[29-30] is tritone higher than [27-28], rhythmically trl Ar. compressed from J. MI ([25 - 2.8]). to 177191 ([29-32]). [23-241 countersubject idea developed against.the -upper

par 'Although independent its lowest note forms the

minor 9th by-implication' with the'vertical bass tritone

occurrences against it.

This countersubject is also repeated upwards at a tritone

[25-26] [27728]. From there on the vertical minor 9th

blueprint reinstates itself [29-33].

"Second Subject" groupings:

• [B1]: lateral : B is a longer phrase composed of two four-bar units [35-38]

[39-42]. Its basis therefore for all is [35-42].

[35-38] top line, same pitches repeated four times, the

last two times being written enharmonically to denote

change of function within the phrase and in relation to

the lower sonorities against it.

[34-38] again, a countermelody exists, both independently

and interdependently with the overall vertical sonorities. 138

vertical : sonorities derive from the initial Al material : in

movement (that of a minor third), or total sound with the

upper lateral parts forming a pattern of dominants or

alternating intervals, or usage.

[B2]: lateral : B2 is a combination of A2 (top line) last 2 bars of B1

and vertical- phrase-melody, (top line), a fractionising the Countermelody

material A2, and.the use of minor 9th vertical sonority In

close conjunction. Hence A2 and El fuse to add to the

work's structural cohesion.

All further material in the rest of this sonata is based upon these . ideas.

This material can be further broken down..

- Again, the edition used for the music is MCA, New York'.

Examples of the subject groupings are indicated.

139

COMPOSITIONAL BASES : SCRIABIN SONATA NO. 9

The opening four notes, varied vertically and horizontally form one of the main pitch - related bases of this sonata.

Note in the yielded intervals that there is a complete absence of octaves, unisons, perfect fourths and perfect fifths, the strongest intervals defining key.

ields rod AIIIIMSIN•51/71 "1/711-1/11•MM. IEVIISIMIIIIIMB1111111 _ ■111Mffrlr.95.ifie_ _ illmI IIMPII■JLTMME2MIETWAMISS AIIMINM-ANIIMIMINI II `IZMIL COMMEMEMEM 'MNIMWMMAMMEMMEMWAUPW,W4MMUNEWMMEMMUMEMEIMWMW 0 (5t) c1S- d7 m7 m3 M3 A cld-ra, be • Techniques Scriabin employs for obtaining a horizontal- line almost approach the techniques Hauer'used in his tropes and Schoenberg's use of the twelve-tone technique he constructed. [7-10]. is analysed: .

I °3 • 1, 7 • • 3 17' • • • A31 3 3

• 3 3

The treblesequence [7-8] And [9-10] is based on three notes, one note being repeated in 'a rhythmic pattern. The three note motive is related to the opening four notes, given above. Transposition of the four note material. yields:

(2.) mommummilmimmum AMIN_1 1711.11PMENIIIIIIM- 11* IISIUIIIIIMMIIMIIIIMI■11111111/4 renitISUIrI1f• 101111011111111111 1121 11:1111WW11•'' IIMN -1 • Os

(1' /0 PO • • Aum isetiaiSsosie■ miNE 701111111■111111101■1 UM sour — 1 alum=

[7-8] possesses notes from (9); [9-10] possesses notes from (1). [7-8] is

"missing" the remaining note A from (9);: [9710] does not have the remaining 140

note C from (1) in its part. .However, both these "missing" motes are

located directly beneath their relevant part, as the .bass note of the minor 9th structure: MIMI MIMI/ WZAIII0fonlIN/I•WA■111.11•11111■■•11 OGIVEIMAMINEMBIN I MAIMMII■A111■111 •1 MUM___r_____.■wo, ,■■1111•1•1■111■1111•11MI

EMI PIIMMENIN■AMIINININNIMMIIIIMINNUI■1 DZIIIIII■11•11=//1■INIMP.11■Allll■MI WIMINOIPWIRI■111111MMAIIIIIMMIN■ I 1 Mxim.,•■4•0- ir/Ilil■IIIMIMINI_ - I do 0

The bassJine also uses three notes of a .germinal -cell, .repeated

upwards by a„ major third. The long held note is at the intervallic major

6th with the corresponding note of the treble line, while the Other notes

alternate in a rhythmic. pattern. This structure also derives from the

opening bar material)

- The other main link lies in the opening five notes:, laterally, both parts:

The topline, with its compass of an augmented

second', and feature of falling semitones; and

uses these attributes fully. Also used is the

•fact that each group starts a tone-apart (i.e. (B-A-B).

The lower part encompasses a minor sixth; and

diminished fifths separated by.a tone'in pattern

again features.

Used vertically and horizontally, features peculiar to eachidea are

•fully worked out. Scriabin also combines-the lines to yield the resultant

structures seen of pitch in both dimensions:

1 This is demonstrated in the section where Scriabin combines the horizontal and vertical lines to form various 9th structures, p7149. 141

Da in Ill a sir LA C+U MIIIIMMEIMMEMEIN 1=1;MINES:4. 11!.. BIN AIIIMIMMIIIIIIMMUITZ0111 1•1111111310•11111311 . ISAMU1 nAm....a.mrombisrapez- nalswimmimonal v. 11111/11, r WAN gin■ MI= gwzoni ta "Ds 7.2:bA verhcai s1ruc1ure u 5 ed 2n4e07.761 A6 work:1. iC IIIMIMMIpri- 111Mrdill TWEN111!INIIIE1111=WOMIIIIIIII7M1111. 11111Wits.graie.. • M 0 /ve,

From , these bases form the pitch conception for the work. The

rhythmic parameter therefore acts-more independently and with greater

flexibility to help differentiate the motives, themes and phrase ideas out'

-of this germinal material. It is separately developed. Scriabin employs

- traditional procedures of counterpoint,. augmentation, diminution, rhythmic

motives and cells to-Work through this sonata. liris'Usesof the minor ninth

and !dominant' structures and his - alternation of them, - -use of the three-note

motive, oscillating semitone,- and,of resultant motives and their derivations

are shown in the examples.

It can be seen that due to his self-imposed discipline over-the

-harmonic element, that this work is much more straightforward, analytically

than the fifth-Sonata. ImaginatiVe use of compositional construction in

"both pitch and rhythmic parameters, and thorough working out of his - germinal

material provide the work with its intrinsic quality. Scriabin limits his

intervallic use to that of the opening statement, and investigates it

throughout the work by various rhythmic and contrapuntal procedures. This

. ,applies to both vertical and horizontal pitch ideas presented.

1 42

ADHERENCE TO THE "CODE"

Scriabin strictly follows his harmonic procedures in the Ninth Sonata.

Following Dernova's analysis, the basis on which Scriabin built this work

can be followed. The opening two bars provide the clue to both the

Departure and Derived dominants. These bars conform both vertically and

horizontally, and each part, or vertical structure can be seen to be both

independent and independent of the other factors.

.Sr RIR a iit) SO /1.C1 +0. /10 . 9. Li-- 33. _ / MI M OM DINXIIIMMIIII11111111111,O "JoIllif=7A I •1411■11111/41111-4- liT, -16111" ■11":".3: /A %W.11111•41A011111-1M .: MINIIMIIMIIIIIIIINIMINIMMINMAMIIIMINI ■40111111PALIMMIIIIMInK ■411. • • ..a t.- irt Do tTtl- Dern 0V Q - Stie analysis

MIL vs: iissev7wim■iii■str mrImirmnimnatumg = I rt) • • Irina:WWI=

wimor_:Rtw■ii■sommostmaii■nmasermIsir7ii.miss.a. ///11=MiST.M1■11•1•11■ 111=1/11■111•14•111. ••1111Mi•J vrasliii.:vpsummimmormaimmilientmmimomaIsiv■ ■ eiv.Almsz. ft&Amiti- Emu KAMM bia/110•IMIIMII

access orj cz,e, cddd h

143

Included are the related tonics

- I VIP 11•7_,!4 TIIIIIIIMM I WWI 7'71— 0 771W mi•Mli LIM-- - l• 1 A 111■=4 I 1116411- ■1111111 I MIMI arm= TrAmr!tasimas—;broc- ■ ram= Ir. ow - 1 wins 1111/ TM! .1.11111111 !.. tU CJEIII IM I 74- 1)6. S 1145- V -7 TID

77, 19 9 W 3 ■1110_-'itIMMIIM=EN I 11,1111111WIIIMIP UNie - ;;.- soils I VIM 1110 I AIM,' MINE =MC; KM= W-41r" 1.11111111M111104111111 -*AIM MOM III IL.'1•VArta.-4aix.•■ IN= fro4 MU 1■—AMILAIAIIMILIIIIIMINUMM I -

Therefore, analysing the first two bars brings up the ways in which it

can be approached.

On the horizontal level there are four lines, of which two pairs

share the same intervallic shape and relationships.

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Scriabin wanted to preserve continuity within the lines with each line

•finishing on thesame pitch. as it started and retaining the patterns so

this occurred as a consequence. Also, the. resultant intervals of each

beat for each bar are retained, i.e. semitones and diminished fifths. (or

augmented fOurtfts1 being repeated a tone lower in both bars. .

Th.e.duality of the nature of these opening bars becomes obvious when

Dernova 4 s.code is.appliedto'them; horizontally:

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144

-and, vertically:

b5 7

Within each pattern ., the alternating major third/diminished sevenths

and diminished fourths/major sixths also form a germinal unit.

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'.M1:11MINT.7•VV/A1111 11111Nrel1111Wfil • MMEHMIROOMMENRAMMIMEMMIMMInEMIMMEMOMMEMMUMEMIKAMEMMLUMWM IsOMMENNMEMMINAMMEMMWIMMEG1MMINWAMMEMEMWAXIOMMEMOWAIMMEWvat..Mr1111111a

Further investigation of these clues provide the compositional

basis on which Scriabin structured this work.

145

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148

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There are three prerequisite systems. that are fundamental to understanding

• the processes out of which Scriabin fashioned his unique compositional Style.

They.are the basis of tonality, tonal expansion, and familiarity with

compositional processes and forms of previous musical periods. These areas

provide the background material-and means to identify a basis of design. The

'.way in- which construction.-is perceived - provides choices from which formulation

a method may be achieved': The investigatory plan identifies the elements,.

defines and examines the method of control overthese elements; and studies

•the compositional consequences. It'Mustbe realised that all the parameters

-1,Arorkinterdependently.within the time continuum: there is no element that is

so Isolated that it can work independently of its source and resource. The

forms that are used result as a,solution to certain, dilemmas of pitch, rhythm,

or organisational principles.

The codification of Scriabin's musical language,as.identified by

Yavorsky and Detnova, was tested in section's of. his experimental works and

more fully in his mature compositions. 'The DernoVa syStem proved to be the

most relevant and comprehensive resource of analytical method and although.

it was published in 1948, it.was some:twenty years later before her analysis

Was known to the Western world. This twenty-year time span was, and still is,

a huge loss in the analytical accurate analysis of Scriabin's.compositions..

.Currently, the vast majority of publications used as resource materiel still

• refer to quartal harmony as -Scriabin's compositional basis- This is a

fundamentally inaccurate statement.

It was necessary, therefore, to trace.the.background of contemporary

musical resources available to Scriabin, both to focus and direct the

SCriabinic trends and to test the Dernova code as a viable alternative

explanation. Dernova's code was successful:' it explained the compositional

basis of Scriebin's mature works as Well as proved the specificity of the 155

directional nature taken in Scriabin's pre-codified and intuitively-led 'period.

An'example-is the meno vivo sections of the fifth sonata. This 'demonstration

of wideness and relevance of scope of the Dernova code proved its importance

as an analytical tool.,

• Scriabin evolved an alternative solution to the problem that tonal

expansion presented when perceived in traditional compositional form. The

' basis of tonality:was the fundamental reliance on a hierarchy of importance of

order of 'notes relative to:a single note. :Scriabin's system provided sound

units of specific pitches of equal importance and these could be defined and

shifted by certain other integers of pitch to create change and to direct the

musical tension, This change in aspect liberated the vertical and horizontal • planes from their mutual dependencies. In tonality the planes were dependent

and inter-dependent; both harmony and counterpoint could exist .simultaneously

- but one would be .sublimated to the other. In Scriabin's system,. both - elements•

- Could exist independently without harm to the strength of the compositional

structure and therefore therhythmic parameter could be used as an alternative

extra, and separate resource.

Essentially this :provided a kaleidoscopic effect: the same material would

' be used, but depending on the effect .requiredmould determine which feature

would be demonstrated'. Using the simile of a kaleidoscope was the best

possible visual representation of its aural equivalent, It literally .

- illustrated the shift of focus that occurred in Scriabin's compositional

procedure

Scriabin's preoccupation with certain chords because of their intervallic

implications provided the first signs of stylistic changes. • He concentrated

in particular on those chords whose construction or traditional resolutions

enabled him to examine two areas. Firstly he wished to follow the effect

caused by tritone-to-perfect fifth movement, in both lateral and vertical

directions, and secondly to observe and .develop alternative solutions to

- hitherto tonal dependencies contained within a composition. • 156

• Two chromatic chords and one type of vertical structure largely

fulfilled these requirements. The Neapolitan sixth and the French augmented

sixth enabled Scriabin to study the implications of the tritone And perfect

fifth effect in either, or both, the basic harmonic material and bass line

movement. In addition, the French augmented sixth was internally symmetrical,

•containing a tone, two major thirds, and augmented sixth (enharmonically a

minor sevend), and most importantly, two interlocking tritones. Furthermore,

any key in traditional harmony contained two augmented sixths which existed

a perfect fifth apart - an - interval vitally significant-to Scriabin. This

choice of intervals was.prophetic, and integral to the development of - his

future system. The vertical structure-of the dominant-chord was also

carefully examined. Dominant sevenths andninths were-observed-whereby the

. structure retained the seventh in the lower part with other notes generally.

.placed above. Again, the presence of perfect fifths, tiitones, and sevenths

•was evident.

-Another feature from the earliest works - was-the simultaneous sounding of

the. tonic note with dominant structure contained within a. passage. - Not only

did it make - the.inherent strength.of tonality less.but it created ambiguity as

to- the purpose of the harmonic progression On one hand it-rendered the

composition less dependant on progressions - as . a'constructional basis, by

implying multiplicity of function. On the other hand an establishment of

harmonic.areas.centred Around perfect fifth bass pedal points replaced the ,

progressions.

The steady re-emergence and increase in - contrapuntal writing inexorably

coincided with the progressive evolvement towards Scriabin's compositional

outcome.. Counterpoint as a linearly-based technique reduced the necessity

- for harmonic progressions to be employed.

These factors determined smaller processes such as sequential repetition

and parallelism as means of creating diversity and - interest in-the composition, 157

and in an effort to create unification whilst tonality was fundamentally

weakened, thematic transformation was inevitably adopted. This process

of applying one or more procedures to aspecific facet of an idea or theme

was investigated and evaluated in minute detail. The singling out and

application of material and effect was essentially motivic treatment of

•pitch and/or rhythmic factors contained within the context of the broader

and more general overview.

• It can be seen that the choices of elements, functions, and processes

led to 'a decline in the Mutual dependencies that governed horizontal and

vertical aspects. The renewal of interest in the rhythmic element

coincided with the.growing-freedom-between these aspects and the consequent

shift.of•focus in pitch organisations.

The evolution of Scriabin's System.was demonstrated through the analysis

o f the Chosen compositions.: Chronologically -evinced solutions to the imposed

-dilemmas of pitch, rhythm, and/or procedural organisation were displayed in the

outcomes of the compositions. They. were discussed, relative.to the nature or ,

trend of the dilemmas.

There-was no 'evidence in the early preludes of any future predicaments in

compositional integrity. The preludes illustrated choice specificity: :they

demonstrated familiarity with conventional mid-nineteenth century elements of

chromatic harmony, and thematic procedures especially%in.t.he Chopin tradition:

he dismissed Nationalistic folksong, scales and,modes'es resource material.

Initial material was, thematically used as the basis of the development, and any

motives which may-have constituted part of the-theme were explored from - within

the context of the thematic nature. The preludes existed within a traditional

clearly-defined harmonic basis irrespective of either harmonic or contrapuntal

orientation. It was necessary, therefore, to extrapolate certain harmonic

blueprints and occurrences that, in retrospect, influenced the continuum of

, musical decisions that led Scriabin to codification of pitch. Experimentation 158

with respect to intervallic outcomes has already been discussed in preceding

paragraphs relating to chromatic chords, dominant structures, and simultaneous

soundings of perfect fifths, in the bass line. • The choice of, and consistent

approach that Scriabin demonstrated to these features were the only links to

future events. Throughout, phrasing was regular and of equal length, and

rhythm Was subordinate to pitch and as yet not viewed separately.

In comparison to the six preludes., "Nuances", worked in both horizontal

- and -vertical' planes. As in the second and fourth.preludes it was contrapuntally

written in three parts, each part containing its own rhythmic pattern. But

unlike these preludes, the harmonic basis was not.clearly delineated and was

a continual linear overlapping of choices and alternatives. "Nuances" was

"thematically" based on a very much shortened idea of-three-notes length

contained in the first bar and two-thirds. However, the main linear

- developments from the Preludes to "Nuances" showed a distinct melodic

shortening. The traditional theme containing three or four- ideas has become

shorter in length -and more compressed. Linearly, -"Nuances" was more vigorously

...worked:through alternatives'caused by the chromatic change of one note'in one

part which affected the whole vertical layout of the subsequent passage.

Scriabin also indicated that .a change of function had occurred•in two ways.

He enharmonically respelt a note'if it was used pivotally as a point of -

• departure, or alternatively, he respelt the note to blend within the context

of the passage to show link and to demonstrate linear continuity. The

• ambiguity in function of both vertical and horizontal factors made it -

necessary to pursue the development of. alternative solutions to the ways in

which pitch would be used as a resource.

"Nuances" deliberately obscured the traditional sense.of key and,

therefore, tonality by delaying and overlapping what were formerly "resolutions"

• in the classical sense. However, it remained compositionally logical by its

dependence in contrapuntal writing, strong sequential usage, regular phrasing,

and presence of internal symmetry of the work. 159

The fifth sonata illustrated the pinnacle of experimentation in all

facets, of compositional areas.. This.work relied on thematic transformation, -

partially because of the evident tonal instability.. But more importantly,

• thematic transformation was a meticulous procedure which consciously and

- conscientiously involved both pitch and rhythmic parameters simultaneously .

-The procedure was perceived to contain the best ways Of finding acceptable

Compositional resolutions, which enabled,unification of large-scale works to

be tightly constructed.

The most crucial compositional development in.this.sonata was the

replacement of atonal unit with a form of harmonic procedure and therefore

- the-forMation of juxtaposed harmonic areas. It was evident that the

instigation of, this procedure ultimately affected Scriabin's compositional

techniques.

Thestructuresof - the...Neapolitan and French augmented sixth, dominants,

simultaneous perfect fifths,. and preoccupation with , the tritone-to-PerfeCt

- fifth movement in both vertical and horizontal planes were the features that

:--most fully contributed:towards pitch codification. In this:sonata Scriabin.

-was . most inventive when exploring contrapuntal writing and certain linear'

intervallic and vertical sound combinations.,- which were . contained in each

Strongly-contrasted subject area.

As •a result, the .rhythmic factor and variation techniques were further .

developed and the use . of.repeated chords became more important. In earlier

. Works repeated-chords belonged to the neutral background; in this composition

they fulfilled amotivic function. In •ddition', the combination:of -repeated

chords in a syncopated rhythm appeared as one of the most important rhythmic • motives of this work) Metric changes, cross-rhythms, and complex subdivisions

were evident. There were also frequent tempo changes.

1 Samuel Randlett, "Elements of Scriabin's.Keyboard . Style", piano Quarterly, Summer 1971, pp.22-24. 160

It is significant that Scriabin was not able to effectively complete

codification in his works until after he had systematically worked through

•the process of thematic transformation. The subsequent successful application

of his code as a justifiable procedure proved that it was a logical extension

of the choices and parameters out of the available musical resources.

The compositional basis- of the ninth, sonata centred around his codified

system. As in.the filtheonata, the opening. material also closed the work.'

But unlike the fifth-sonata ., the ninth sonata was- . less experimental due to his

systemised pitch procedure. - Consequently, possible choices in the vertical

and horizontal,planes have also been strictly limited.. The style of writing

was linear and independent on the vertical sonorities although both elements

used the same sound patterns as:the-resource.' Both planes Were-intervallically

Motivic; and each linear:unit was contrapuntally invertible and consistent in .

usage. Internal relationships were-maintained - despite a-propensity to-share

Ha common note between itself and-another part., Most importantly, each unit :

existed interdependently - of other parts, butoould-retain'itsindependence by

its own specificA.ntervallic and rhythmid_flavour.

The Ninth Sonata also shared many common traits with the transitional .

works. Enharmonic. respelling of the same notes .to indicate.an internal change

of function within a . phrase or to demonstrate linear continuity - was evident.

tritone and perfect fifth-were used in both the ninth and. fifth sonatas'.

The significant development was that these intervals could only be used in a'

horizontal plane in the fifth sonata, whereas they could be used-both

horizontally and vertically in the ninth sonata. The fifth sonata alternated

tritones to establish harmonic areas-by "resolving" to a perfect fifth. Both

intervals in the ninth sonata could-be used as A minor ninth structure or

consecutively as separate entities. Both employed parallel movement upwards

or downwards in minor third-progressions of dominant structures. The rhythmic

factor was separately conceived as a motivic element in both works, but was

more fully integrated as a'separate entity. , 161

It can be seen theta metamorphosis occurred as a result of the expansion.

of tonality and consequent experimentation with compositional procedures.

Thematic elements.and development gradually evolved to organisational units

of small motivic cells of pitch and rhythm, both with the capacity to work

in both horizontal and vertical planes. These motivic cells became the basis

of construction in an established organisation of sonorities, in the formal

. design of the late works composed by Alexander-Scriabin. 162

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