Scriabin's Octatonic Sonata
Bibliographic Data
| ID | 5028092 |
|---|---|
| Authors | Cheong Wai-Ling, Wai-Ling Cheong (Chinese University of Hong Kong, corresponding author) |
| Year | 1996 |
| Volume | 121 |
| Issue | 2 |
| Pages | 206-228 |
| Publication date | 1996-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of the Royal Musical Association (JOURNAL) |
| Journal identifiers | ISSN: 0269-0403 • E-ISSN: 1471-6933 |
| Publisher | Cambridge University Press (PUBLISHER • US) |
| DOI | 10.1093/jrma/121.2.206 |
| OpenAlex | W2089410320 |
| Language | EN |
| Citations received | 7 |
| References cited | 5 |
The first of an uninterrupted series of piano works to follow the orchestral Prometheus, op. 60 (1908-10), Scriabin's Sixth Sonata, op. 62 (1911), is a striking example of what may be termed an 'octatonic sonata'. Indeed, the Sixth Sonata shows Scriabin experimenting with the octatonic at its most rigid and is unique in containing long spans of pure octatonic writing where not a single extraneous note is invoked. In contrast to the Fifth Sonata, op. 53 (1907), which is closely associated with the Poem of Ecstasy, op. 54 (1905-8), the Sixth Sonata has only loose ties with Prometheus
Art · Art history · Literature · Piano · Piano sonata · Sonata cycle · Sonata form · Sonata rondo form · Historical and Literary Studies · Musicology and Musical Analysis
| Citations per year | 0.3 |
|---|---|
| Citation span | 2003 - 2026 (24) |
| Highly cited | No |