Scriabin's Flammes Sombres Full Analysis
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- เผยแพร่เมื่อ 25 พ.ค. 2023
- Scriabin’s Flammes Sombres Op.73 No.2 analyzed in full.
What piece would you like me to analyze next?
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Brilliant analysis. Thanks for the hard work and sharing as well!
Love the analysis! This is currently my favourite Scriabin miniature. What I love about this dance is the connection to Scriabin's Mysterium text (according to Sabaneyev, Scriabin associated Flammes Sombres with the "Song-Dance of the Fallen" from his Mysterium libretto). A short passage from the text:
Song-Dance of the Fallen
We along paths, along pitted
Paths covered in corpses
Following two coupled whirlwinds
We hurry a bewitched choir
The stench of black blood we breathe
There is lust for abominable delights
We hurry in a flaming dance
Dance-caress, dance-tale.
To build filthy dens
There to raise our thrones
There to surrender to our passion
Which has opened its bestial jaws to us
We hurry swiftly along precipices
Along gorges and along rifts
Where the flowers of madness grow
To surrender to them without hesitation
Thus the spirit-wanderer through the thickets
Raging, wildly celebrates
His sacred rupture with heaven
Obeying the black calls
Be thrice accursed
Loathsome countenance of terrible death
By those ice holes into eternity
Our carefreeness is disgusted
After a brief communion with eternity
The passions beckon towards incarnations
With the songs of heaven, irksome to us
Our songs are not consonant
Insensible to the revelation of heaven
Only corpses bring joy to us
Only splashes of the black blood
Of our abominable love
We over corpses, we over corpses
Hurry swiftly along ledges
Closer to filthiness, closer to shame
Soon the boundary walls of the temple will crash down.
Woah very cool! This adds a lot! Thanks!
I knew some of the musical content from this was used in Mysterium. Is that passage written in his notebook?
@@jaybeardmusic8074 Yessir!
man this is the most black metal thing i've ever read
Will you analyse the Op.73 No.1?
Love the analysis, thank you. Given your extensive study of Scriabin’s music, care to offer any thoughts on how the composer himself might have conceptualized pitch organization in his music? To me, he seems to think of these collections as colourful extensions of the dominant 7th sonority (I hear this even in many of his early pieces).
Great question! I think he thought roughly in terms of sets just without the same labels (he probably thought of them as scales/chords). Sets like 6-z49 and 7-26 and the mystic set appear again and again without there being too much that falls outside of his typical sets. I show this in more detail in my series “Scriabin’s Atonality”.
It is thought that ultimately chords like the mystic chord and whole tone chords originate from extensions on dominant 7’s (and the dominant 7 is a fundamental building block to all these chords) but by his late era these chords don’t function as a dominant to be resolved, but as a consonance to start and end with.
“Melody is harmony unfurled, harmony is fueled melody”- Scriabin
Great analysis!
Thanks!
Are you familiar with the compositions of Roslavets? He was heavily influenced by Scriabin’s harmonic system. His use of sets is fantastic.
Yes! I love how Roslavets takes after Scriabin! Have you analyzed his music? I’d be curious to learn what sets Roslavets uses in his music 🧐
@@jaybeardmusic8074
I have analyzed very little at the moment, I’m hoping for one of your analysis ahah. Online there is very little material available unfortunately. I want to analyze the Nocturne for Quintet, one of my favorite piece ever.
@@OfficialDanieleGottardo he's not influenced at all by scriabin, he's influenced by his own delusions of what he *believes* scriabin is.
These flames are not very somber Mr. Scriabin.
I wonder what WIM has to say about this analysis
i thought the exact same thing
“It’s all just F major with a few accidentals. Fuck you Jay!” 😂
Correct analysis of this piece.
Key: Gb(tonic) A, B, D, Eb, F. (Mystic scale)
There's no 4th in the key of this piece. 1st triad is Gb, B, D(I+aug3). Scriabin uses very little triadic harmony in this piece. But my analysis will be using that system.
{Point of inversion}
a,b, c, d, etc. is used to describe 1st, 2nd, 3rd, etc. inversion.
÷ = Repeat
sD = subDominant
D = Dominant
T= Tonic
First 4 bars, new chord every beat:
1.sD, II°sus4-67c({Eb} A, D, Eb, F, Gb) resolved as dominant to
2.D, #V°sus#4-67g({B} D#, G#, A, B, C)
3. ÷
4. ÷
5.T, Isus2-67c ({Db} Gb, A, Db, Eb, F)
6.sD, Vb8b6-nat9 (D, E, F#, Bb, C, Db)
7.sD, bbIIIaug3-6b79g ({Gb} Bbb, C, D, Fb, Gb, Ab)
8.D, iii°nat6-711(B, D, Eb, F, G, A)
.....
@@jaybeardmusic8074 sorry man, I'm not incompetent enough to analyse from a cursory glance like you. I prefer using actual theory, not pseudo-theoretical nonsense, that has nothing to do with music like set theory.
The key is Gb. Neither major nor minor. The third is augmented, not replaced by a fourth or a second.
Would be funny, if ya’ll showed this to Scriabin and he’d say something like „nahh bruh, sounded funky so I used it, nothing complicated”
2:34 because it's not a flat 9, it's a diminished 7th. You're analysing this chord from the bass. An amateur's error. Did you forget chord inversions exist? Did you think chords could not be inverted at the beginning measure and beat of a piece? The root of the chord is A, not F. And it's a Gb, not an F#.
3:04 I guess you still need better ears, there's a chord change on measure 3 beat 1. "But it's the same notes?" You may ask. But you fail to account for metric emphasis and literally anything other than rudimentary analysis on paper. The paper merely represents a small part of what the composer knows. You need to hear aswell.
google 'music theory'
@@joeyhardin5903 google "when to shut up"