OMG this is the exact kind of content I crave. Just a perfect walk through of the piece with individual parts being brought out and discussed. Your appreciation has greatly increased my own appreciation! Thanks for a great video
Thank you Rudy! I'm not playing anything of Scriabin after the 5th sonata, I really like his early/middle period but I'm not a fan of the late. But I have the 5th, 4th and the Fantasy in my repertoire and on my long list of works to do in the future.....
@@SonataSecrets I kinda feel the same way too. I felt like Scriabin's harmonic language peaked at his 5th. His later work becomes a bit cliche for me when stripped down to the barebones of mystic chord planning, especially his 6th and 7th. In comparison, there's much more harmonic flexibility going on for his 5th. Either way, I look forward to your future works!!
I feel that Scriabin was inspired by the opening of Chopin's Polonaise-Fantaisie to write this opening. First of all, both sound very improvisational opening with a fanfare with dotted rhythms followed by the upper notes that accompany them (arpeggios in the Polonaise, inverted fifths in this piece). And these grow up to be rhythmically steady and turning into an actual piece, well-structured and contrapuntally richer. And this is in the parallel minor of the Polonaise-Fantaisie. Also, both the pieces have a tender slow section in B major (here, the 2nd theme of the exposition). 9:29 this reminds me of the passage in Bb, that occurs before the slow section in B major, in the polonaise fantasie (probably because of the resolution shortly after the C natural (upper semitone to the key this section is in. Something Chopin often did.) occurs). The exposition ends in a pentatonic manner and turns to D major for a moment and then, you have the development, just like the quotation of the introduction in the slow section of the polonaise fantaisie.
Thank you so much for making this video! I have been working on this piece for several months, and I find it very slow going (to be honest it’s probably above my current level!), but your analysis is helpful almost as much as seeing your own notes on the score. Finally thank you for your enthusiasm! It’s clear that you love this music as much as I do. I am very glad to find your work, be well!
8:08 this chord is actually a Chopin Chord (at least we call it that in Germany). It's a dominant with a 7 and additionally the (in this case) major third of the tonica. So it's more a typical Chopin-like chord than Scriabin-like. But since it is known that Scriabin was a big fan of Chopin, this chord makes a lot of sense :)
think you could have gone into more detail at the onset of the development, which actually features all 3 motifs from the exposition overlaid on top of each other - , the D pickup to G represents the opening motif, the melody starting on F represents the A subject of the second theme, and the D to A leading to the B flat in the next bar represents a fragment the B subject of the second theme (as you analyzed it) that said, great analysis, I think more pianists should study this piece and I hope this inspires more to explore the amazing music of Scriabin!
I have been playing for 3 years, and I after this analysis, I really want to learn this movement. I'm not sure if my technique is enough for playing it, but It's my actual goal for this year to learn. Thank you so much for sharing this beautiful analysis
I talk a little bit about it in Chopin's Fantaisie-Impromptu: ruclips.net/video/DxJjle5MKE8/видео.html Basically I think practice each hand separately so they know every beat by themselves, and then play together and make sure each beat meet up.
My suggestion is that you just practice a lot with metronome and be careful to not do any mistake at the concert . If you do a mistake you repeat all again until you find your self looking for a better job. Now you have it!
Find a way to put it in order to see how it wich note would go in between the others, but then you just have to go for it. You have to feel it!! That’s how I managed to play the last section.
This reminds me of what the American pianist/composer/lecturar Bruce Adolph often says "Sonata form is called that because it is so not a form". Perhaps that is what Sonata secrets can be said to be about as well - revealing the "secret" of the music making it so not a secret?
Exactly! :) In my early videos I had the logo change between the words like that, but I cut it because couldn't find space for it in the beginning or end... But Bruce Adoplhe apparently thought of it first then!
That B major section is about as gorgeous as music gets. It's amazing how Scriabin progressed and matured between his first and second sonatas.
OMG this is the exact kind of content I crave. Just a perfect walk through of the piece with individual parts being brought out and discussed. Your appreciation has greatly increased my own appreciation! Thanks for a great video
It's my pleasure :)
This is an amazing analysis! I need to listen to more Scriabin.
This channel is an absolute gem! Out of curiosity sake, are you planning to do more of Scriabin's later piano works such as his 5th sonata?
Thank you Rudy! I'm not playing anything of Scriabin after the 5th sonata, I really like his early/middle period but I'm not a fan of the late. But I have the 5th, 4th and the Fantasy in my repertoire and on my long list of works to do in the future.....
@@SonataSecrets I kinda feel the same way too. I felt like Scriabin's harmonic language peaked at his 5th. His later work becomes a bit cliche for me when stripped down to the barebones of mystic chord planning, especially his 6th and 7th. In comparison, there's much more harmonic flexibility going on for his 5th. Either way, I look forward to your future works!!
@@SonataSecrets Give it another chance. Sonata 6 is ridiculously hard but try the others. The eighth is musically the best. Stravinsky thought so.
How would You like this? :) ruclips.net/video/Iow9SzAFBWQ/видео.html
@@jdbrown371 Sonata 5 is definitely harder technically. Musically, all of the Sonatas are a b*tch
A very good travel through the piece. Henrik.
Thanks Mats!
I feel that Scriabin was inspired by the opening of Chopin's Polonaise-Fantaisie to write this opening. First of all, both sound very improvisational opening with a fanfare with dotted rhythms followed by the upper notes that accompany them (arpeggios in the Polonaise, inverted fifths in this piece). And these grow up to be rhythmically steady and turning into an actual piece, well-structured and contrapuntally richer. And this is in the parallel minor of the Polonaise-Fantaisie. Also, both the pieces have a tender slow section in B major (here, the 2nd theme of the exposition).
9:29 this reminds me of the passage in Bb, that occurs before the slow section in B major, in the polonaise fantasie (probably because of the resolution shortly after the C natural (upper semitone to the key this section is in. Something Chopin often did.) occurs).
The exposition ends in a pentatonic manner and turns to D major for a moment and then, you have the development, just like the quotation of the introduction in the slow section of the polonaise fantaisie.
Wow-- I just stumbled across this channel-- I love it! So good!
Welcome!
Thank you so much for making this video! I have been working on this piece for several months, and I find it very slow going (to be honest it’s probably above my current level!), but your analysis is helpful almost as much as seeing your own notes on the score. Finally thank you for your enthusiasm! It’s clear that you love this music as much as I do. I am very glad to find your work, be well!
Hooray for you and your lectures. Your excellent tutelage only deepens my appreciation for Scriabin’s genius!
These are wonderful. You have a charismatic way of expressing.
Thank you for that! Great stuff - and your love for that great piece shines through!
Hi:) How would You like this?:) ruclips.net/video/fBFCM0Xc8I4/видео.html
another wonderful analysis-clear, yet entertaining.👍👍
Lovingly described I can feel your enthusiasm
Hi:) How would You like this?:) ruclips.net/video/fBFCM0Xc8I4/видео.html
Thanks for your marvellous videos, pls keep this amazing work!
I'm planning to learn this piece, this surely helps and has given me some insight to this sonata. Thanks!
Hi:) How would You like this?:) ruclips.net/video/fBFCM0Xc8I4/видео.html
Thank you very much for the analysis, such a beautiful work
Thank you so much!
8:08 this chord is actually a Chopin Chord (at least we call it that in Germany). It's a dominant with a 7 and additionally the (in this case) major third of the tonica.
So it's more a typical Chopin-like chord than Scriabin-like. But since it is known that Scriabin was a big fan of Chopin, this chord makes a lot of sense :)
Good analysis. I too would love to see a video of the 5th Sonata..
think you could have gone into more detail at the onset of the development, which actually features all 3 motifs from the exposition overlaid on top of each other - , the D pickup to G represents the opening motif, the melody starting on F represents the A subject of the second theme, and the D to A leading to the B flat in the next bar represents a fragment the B subject of the second theme (as you analyzed it)
that said, great analysis, I think more pianists should study this piece and I hope this inspires more to explore the amazing music of Scriabin!
Great video, thank you very much!!!
Hi:) How would You like this?:) ruclips.net/video/fBFCM0Xc8I4/видео.html
I have been playing for 3 years, and I after this analysis, I really want to learn this movement. I'm not sure if my technique is enough for playing it, but It's my actual goal for this year to learn. Thank you so much for sharing this beautiful analysis
Yes I played it after six months of learning
Hi:) How would You like this?:) ruclips.net/video/fBFCM0Xc8I4/видео.html
@@ciararespect4296 thats physically impossible
@@ralsei217 no its not
@@BadPerson789 yes it is
Thank you !!
Any tips for how to practice the polyrhythmic section at the end?
I talk a little bit about it in Chopin's Fantaisie-Impromptu: ruclips.net/video/DxJjle5MKE8/видео.html
Basically I think practice each hand separately so they know every beat by themselves, and then play together and make sure each beat meet up.
My suggestion is that you just practice a lot with metronome and be careful to not do any mistake at the concert . If you do a mistake you repeat all again until you find your self looking for a better job. Now you have it!
Find a way to put it in order to see how it wich note would go in between the others, but then you just have to go for it. You have to feel it!! That’s how I managed to play the last section.
Hi:) How would You like this?:) ruclips.net/video/fBFCM0Xc8I4/видео.html
Thank you!
This reminds me of what the American pianist/composer/lecturar Bruce Adolph often says "Sonata form is called that because it is so not a form".
Perhaps that is what Sonata secrets can be said to be about as well - revealing the "secret" of the music making it so not a secret?
Exactly! :) In my early videos I had the logo change between the words like that, but I cut it because couldn't find space for it in the beginning or end... But Bruce Adoplhe apparently thought of it first then!
Is there anybody trying hard to guess where he is from?
Hi:) How would You like this?:) ruclips.net/video/fBFCM0Xc8I4/видео.html
I hear a Finnish accent I think.
1 dislike!?
One can't please everyone...
🤔 The one who gave 1 dislike was an envious one. Lack of creativity give a dislike.
loved the emojis haha
Not my favourite Scriabin Sonata, Still very Solid