Prelude, Op. 74 No. 3 (1914) by Alexander Scriabin

Prelude, Op. 74 No. 3 (1914) was written during Scriabin's second style period rooted in mysticism, as per his theological discussions with Madame Blavatsky in 1905. This was a period of more dissonant impressionistic and expressionistic compositions. Harmony, not melody, was the driving force of composition, and the preludes of Op. 74 are among the most daring harmonic conceptions of Scriabin's work. A study of his preludes from early to late reveals a gradual development from Chopin-like pieces, to highly chromatic, to tertian extensions, to pantonality (or lack of tonality). He developed his "mystic chord" after 1905, which became the basis of all his compositions during this period. The "mystic chord" was derived from the eighth to fourteenth partials of the overtone series, with properties of octatonic, diatonic, and whole tone scales. This particular prelude is almost entirely octatonic, with the exception of some chromatic passing notes: E-F#-G-A-A#-B#-C#-D# (there are two diminished-seventh chords and four tritones). Even when transposed at the third or tritone, all the pitches remain the same. Program Note by Justin R. Stolarik

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YouTube | November 17, 2007

Tags:. .pantonality. .fourteenth. .diatonic. .preludes. .theological