With this composition, articulated in four tempo like a classical Sonata, there is a return to the traditional form of the Sonata. Scriabin returned from his honeymoon with his wife Vera and began
teaching in Moscow, encouraged by the new director Safonov (Scriabin's former piano teacher).
The teaching was very tired according to him; he, not wishing for assistants, took care to start for each pupil from the beginning starting point. The continuous work consumed him and led him to
assimilate (according to some) even musical languages of his eminent contemporaries. I find this statement in the writing of this Sonata where, for example, the ending of the fourth movement follows a bit the pathos of his colleague and former classmate Sergei Rachmaninov. Some critics say that the period of the conservatory stands out in Scriabin's production as an arid period inwhich the composer lacks originality and, according to them, this Sonata is the proof of this. This composition has the title états d'âme (moods) which was written by Scriabin's second companion,Tatiana, to accompany the concert hall programmes which included performances of this sonata. It is therefore very clear that it is not an autograph title.