About 1th Sonata: 1st movement
It is a composition consisting of four movements. It ends with a funeral march. The first half, Allegro con fuoco, begins with a theme that starts twice from tied octaves of the left hand and is completed by the other hand. The octaves of the left hand seem to come from thedarkness of the depths of the soul. The keyboard is almost entirely touched and the sound is majestic. The character of this theme with the relative material is very intense and lends itself to different interpretative cuts. The second theme, in total opposition to the first, is of character, sweet, persuasive and takes up the Wagnerian concept of infinite melody where the conclusion of the musical phrase and the beginning of the next one coincide, thus making possible a virtually endless melody. It will not be the only time that Scriabin will take up Wagnerian concepts. Moreover,certain themes of the Soviet composer's music are also similar to those of the German musician. The atmosphere becomes agitated and a part that closes the exhibition that has a clear orchestral as well as piano character. The texture of this part in fact calls loudly the multi-stringed part of the orchestra where there are parts that increase to reinforce the musical discourse but remain static in their note height. Exactly the opposite of the beginning. This section is in major key and appears as a proclamation of a triumph. The first part is repeated and the central moment of time that is the development begins. The orchestral writing above is taken up again at the centre of the
development, subsequently giving the start to a moment that darkens the whole to give rise to the first theme of the beginning which then gives rise to the second theme this time exposed with a conspicuous chordal mass. Curious that here, in the second theme, there is no dynamic indication. It would seem, as written, to have to play it with a great intensity of sound but in fact this is not the case. You play it agogically fluctuating with time as you did the first time it appeared that the theme of the infinite melody. The "triumphal section", so to speak, reappears and contracts by turning off the song that hints at the same notes as the beginning of the funeral march (even if it ends in the last F major chord). This appears as an obscure omen or as a fixed and ineluctable component of the whole Sonata.