The Tenth Sonata Op.70 was completed together with the Ninth Op.68 and before the Eighth Op.66 (the last Sonata to be completed). At a first examination of the entire cycle of Sonatas we see that the writing thickens starting from the Fourth and then reaching a true culmination in complexity with the Seventh. The Eighth is a case in itself but which unquestionably indicates a reversal of the trend: the writing becomes simplified and seems to tend strongly towards essentiality. The Ninth, as effective as it is clear in its staves, is already far from the extreme complexity of the Seventh, which
reaches four staves simultaneously in the score. The Tenth Sonata instead in its essentiality seems to have gone beyond the limits of a real writing and reality, of this world; the beginning for example: diaphanous, immaterial with few notes. The composer's language is increasingly close to Scriabin's real alphabet, where trill, tremolo, rapid beating and so on are the code with which this composer evokes and expresses himself with us.