Overview
Introduction
This was the last of five sets of preludes Scriabin composed in 1903. While all 19 pieces in the five collections were, more or less, written in his mature style, these four show evolution toward his final, rather radical style. The second and third here are particularly noteworthy in this respect.
The first prelude from Op. 39, written in F sharp major and marked Allegro, actually sounds a bit Rachmaninovian in its huge washes of sound in the bass regions. In addition, the wandering theme, while Scriabin-esque enough in its more neurotic character, has an emotional temperament not unlike that in many works of Rachmaninov. Still, whatever influence one might hear in this piece, it is surely coincidental, not deferential mimicry or unconscious imitation.
The D major second prelude, marked Elevato, would be a solemn and meditative piece but for its occasional loud disruptions. Its sound world is a strange one, seeming to contrast peace with war. Peace wins out. The G major third, marked Languido, is languid indeed -- languid, but with an undercurrent of tension from the running left-hand figures. The theme has a haunting, if dark beauty. The last prelude, in F minor, is a powerful, dark piece whose ominous tolling bell-like sonorities in the bass impart a mood of desolation, not far from that heard in many of Liszt's late keyboard works.
In the end, this must be counted as an important set of preludes from Scriabin, both musically and as a step in the evolution of his style. Collectively, these preludes last about five minutes in typical performances.
Parts/Movements
- No. 1, in F sharp major
- No. 2, in D major
- No. 3, in G major
- No. 4, in A flat major
