Alexander Scriabin
Poems and Miniatures
About Alexander Scriabin's Poems and Miniatures
With the Two Poems, Op. 32, Scriabin launched a long list of compositions in this new genre. Dmitri Alexeev writes that "it is plausible to indeed see nearly every composition of his as a poem – poetic content is the essence of his music". He extended the title not only to his miniatures, but also to great symphonic works like the Third Symphony, with the subtitle the Divine Poem, or Prometheus – Poem of Fire.
In the same epoch-making year of 1903, Scriabin produced his Fourth Sonata and several other works, including the Poème Tragique Op.34, the Poème Satanique Op.36, and the Poème Op. 41. Poème tragique is one of the most distinctive works of Scriabin’s mature period. It can be hard to grasp the tragedy, but it's easy to sense that grand events are going on. Poème satanique ushers in a new programmatic realm of Scriabin's creativity. The piece is apparently meant to represent the devil laughing at love. According to the composer himself: “Everything in it is hypocritical and false”.
The very names of many of these sophisticated miniatures suggest that we are entering a strange new world: Poème fantastique, Fragilité, Poème ailé, Danse languide, Énigme, Ironies, Étrangeté... In Énigme, for example, the composer saw something akin to a ‘winged, slight being - part woman, part insect'.
Some of Scriabin's very last works belong to this collection – the Two Poems Op.71, the poem Vers la flamme, and the Two Dances Op.73. Here, Scriabin’s application of his harmonic and rhythmic systems becomes all the more intricate, and the texture more ethereal. Guirlandes brings crystal figurations – a kind of ‘music of the spheres’. Flammes sombres has the same dark imagery as the Poeme satanique and the Ninth Sonata. Finally, the undisputed masterpiece Vers la Flamme, ‘Towards the Flame’, notorious for its difficulty and the physical demands it places on the performer, describes the world’s inexorable slide toward death and destruction by fire.