Study COp 8 n° 12 of Scriabine

This study, the last of the first collection of studies of Alexandre Scriabine, published in 1895 (the very first study - opus 2 n°1- date of 1887, according to Scriabine itself), whereas this last is 23 years old. It is in D minor Dièse (six sharps with the key), of measurement 4/4 or C, measurement rather seldom used by the type-setter, contrary to Rachmaninov which uses it in a considerable number of parts. The Tempo given is located on a fork from 100 to 112 at black with as indication Patetico (from where the name that one gives him sometimes, the Pathétique ). It is one of the most known works of Scriabine, and undoubtedly most famous of its studies. One will not try to explain here the reasons, musical or different, of this passion, but it is clear that its topic, quite characteristic and easy to memorize (i.e. easy with fredonner, for example), is there surely for much. One compared his character epic and powerful with the Révolutionnaire of Frederic Chopin, which does not have anything of surprising when one knows the influence of this last on Scriabine (and on good of other type-setters besides).

Of this study, nothing original good with regard to the structure, which one finds in good of other short parts for piano: a structure of the type ABA', the topic is exposed in, developed out of B and then re-exposed in A', but differently arranged (from where the denomination A' and not simply A). In has and B, a song in Accords (extension an octave) of the right hand is accompanied by low in triplets by the left hand, the rhythmic shift (binary of the right hand, ternary of the left) gives to the piece a rate/rhythm a little " buté". It is this accompaniment of the left hand which constitutes the principal technical interest of this part, a mixture of great displacements and extensions which plank the technical higher bid: the greatest extension made ré#-sol#, too large for the same hands of Scriabine (however, nothing prevents arpéger), certain displacements cover two octaves of a blow, the reason for accompaniment often changes (there are repetitions all the same). Despite everything, the movement of the left hand excessively fast (five notes at the second) is not compared with that of other parts (ex: musical Moment n° 4 of Rachmaninov) which can reach ten to fifteen notes at the second and even more. However, displacements require a flexible, fast and precise hand all the same. In a' part, the topic is included, accompanied this time by triplets of agreements of the two hands (the right hand thus plays at the same time the topic and the accompaniment), then of a rise of the two hands to two suvie measures of an agreement, and finally of two conclusive agreements. The principle of the right hand which plays at the same time the binary topic and a ternary accompaniment finds in the Nocturne opus 48 n° 1 of Chopin, also during the resumption of the main theme.

Random links: