Scriabin: Piano Sonata No. 7, Op. 64 "White Mass" [Ashkenazy]
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The Piano Sonata No. 7, Op. 64, subtitled Messe Blanche (White Mass), was written by Alexander Scriabin in 1911. As one of the late piano sonatas of Scriabin's career, the music is highly chromatic and almost atonal. George Perle says that, "the primary set upon which the Seventh Sonata is based," is, in linear order as spelled by Scriabin, E, F♯, G, A, B♭, C, D♭, and that the mystic chord may be derived from the quartal spelling of this set (with D♮ and without G).
The White Mass is closely related to its predecessor, the sixth sonata. Both works were written in 1911-12 and have structurally and stylistically more in common than any other pair of Scriabin sonatas. Scriabin reportedly feared the sixth sonata, considering the work to be corrupted by demonic forces and going so far as to refuse to play the work in public. Scriabin composed his seventh sonata as an exorcism against the darkness of the sixth sonata, subtitling the work White Mass in order to reflect its celestial nature. He intended the mood of the piece to be ecstatic, evoking images of winged flight, voluptuous rapture and overwhelming forces.
The composer was especially fond of the piece, probably due to its messianic context and perfected structure, which features more contrast, rhythmic and dynamic, than most of his work. Like the second sonata however, the White Mass gave him a great deal of trouble during its composition.
The White Mass Sonata is not structurally directly related to Scriabin's ninth sonata, which was composed in 1912-13 and would later earn the nickname Black Mass Sonata.
The piece consists of a single movement, lasting around 10-13 minutes, and is marked "Allegro," although the "Allegro" marking was added later by the publisher. The original tempo marking in Scriabin's hand at the top of the autograph score is "Prophétique." Additional markings provide clues to the different moods Scriabin intended to convey throughout the work, such as "mystérieusement sonore" (mysteriously sonorous), or "avec une sombre majesté" (with a dark majesty). Like the sixth, the seventh sonata is full of violent contrasts, complex counterpoint, advanced tritonal harmonies, and rippling, incandescent arpeggios. The theme marked "avec une céleste volupté" (with a heavenly voluptuousness) melodically presents a harmony that recurs throughout the sonata. Another recurring harmony is presented by the theme marked "étincelant" (sparkling). Passages throughout the sonata imitate lightning, clouds of perfume, and distant bells. The chords imitating the ringing of bells were a favourite of Scriabin's, and they provide another harmony that recurs throughout the work (two minor thirds separated by a minor sixth). According to Leonid Sabaneyev, when Scriabin himself played these chords, the ringing sounded from near and afar at the same time; a part of them sounded very real, while another sounded like an echo. There is also a significant five-octave arpeggiated chord at the end, representing a flash of blinding light. The music that follows surges upward in register until the end of the sonata where it dissipates, representing "enervation and nonexistence after the act of love."
Source: wikipedia.org
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I really never liked any kind of experimental or "modern" music, yet, there is something so addictive about scriabin... It Just makes sense, different from many other composers for me. The way he uses forms, the crazy material and the way he develop in his pieces is Just above every other "modern" composer for me.
It's something like Prokofiev, when you don't care or just don't pay attention enough, It will sound completely random and nonsense... but, when you try to understand It, you see a completely different world, like a transcendent experience, you understand things that you just can't describe what It actually meant in our reality... In Scriabin we are transported to another dimension, another world; SCRIABIN'S world. And look, i'm not even that big of Scriabin fan, i don't listen to his later Works quite often and playing Scriabin is not a priority for me now, BUT i find him really interesting. Surely, he is one of the composers respect the most.
Genius!
Scriabin is definitely my favorite composer, I appreciate his inventions and discoveries. Definitely one of the most important 20th century composers!
Even his most "atonal" works like 6th or 7th sonata still sound very harmonic. His works are extremely difficult to play but I think it's worth to learn them
yeah I get that feeling too, most modern atonal pieces don't impress me at all especially in terms of how they sound, but scriabin's middle/later works are fairly comprehensible and somehow in the realm of what I personally consider to be good music.
They're definitely alien and vastly different from other pieces that I like, but weirdly enough because of that at one point I even thought these pieces are actually peak music. Sonata No. 5 is my all time favorite, along with this and no. 4.
I think no other composer left me completely blown away and speechless like scriabin haha
i looove Scriabin. favorite composer :) i love Black Mass and Vers La Flamme in particular.
Yeah, scriabin is the most enigmatic and magical composers. He just made his own world. there is nothing similar to his music.
Btw, to your comment, actually i feel something similar when i am paying attention to Medtner's music, but there is less harmonic convention (in terms of leaving tonality), but more in themes development and work.
0:03-1:02, 3:01-3:10, 3:26-3:34, 4:06-4:20, 5:06-6:29, 8:29-8:44, and 10:11-10:35 actually remind me of a storm that happened on July or June (I can't remember the date, this was almost 2 or 3 months ago)...
Backstory: "My dad picked me up from my mom's house to go to my dad's house, we were coming across a storm (Before the storm, my dad said there was gonna be a severe storm). But it was much more severe then i thought! My dad stopped at a gas station as soon as it got too windy, lights started flickering and soon blackened out! We started driving again around the 40's of minutes to an hour later. As soon as we got to the city my dad's house was at, we saw tens of power lines knocked over, the city blackened out. As soon as we got home, we saw almost the entire city was blackened out! We spent one night at the house, we didn't get to bed until 3 am. In the morning, we went to my grandma's apartment, we stayed there for almost an entire week!" And that's the story.
Good God that climax at 10:11 is truly a moment of pure crisis and hedonistic power, followed by the colossal monstrous chord it's just one of the greatest moments in Scriabin's output
Pure crisis? Scriabin marked that moment as an "Overflowing joy"!!
i don't think he knew what is really joy....
I absolutely love this. This must've been so much effort to sync all of this! You deserved and earned a new sub and like.
Beatiful!
Сильное произведение. Творчество Скрябина сильно повлияло на меня.
10:33 that chord! 😮
10:34
10:31, pure ecstasy!
No
Yes
@@stravinskyfanNo
8:29!
Can you maybe do Mephisto Waltz No.1?
That timing, I just started that yesterday LMAO!
@@BeMusical. Haha, when do you think it will be completed?
10:30
Scriabin bad
@@charlesthomas5956 No
@@Dylonely42 Yes
@@Dylonely42 I want cheese🧀
@Dylonely42 C'mon stop waiting and give me cheese🧀🧀🧀