Program

Alexander Scriabin - Sonata No. 5 in F-sharp major, Op. 53

Joseph Haydn - Sonata in F major, Hob. XVI: 23

I.  Allegro moderato

II. Adagio

III. Finale: Presto

Sergei Prokofiev - Sonata No. 6 in A major, Op. 82

I. Allegro moderato

II. Allegretto

III. Tempo di valzer lentissimo

IV. Vivace 

Notes  

Scriabin’s musical style is difficult to fully summarize in words. His early works exemplify the romantic style, with soaring melodies and thick, lush harmonies. As he became more interested in spiritual matters and the occult, his works became infused with more mystical and programmatic elements. The 5th sonata, composed in 1907, was the beginning of this compositional shift. In addition to being his first sonata without a key signature, it was also his first single movement sonata; all future sonatas would also be single movement works. While the work still contains elements of his Romantic style in its silky melodic lines and luxurious harmonies, it has the feeling of something new, daring, and never-before-heard. Inscribed before the piece is a poem that Scriabin wrote:

I call you to life, O mysterious forces!

Drowned in the obscure depths

Of the creative spirit, timid

Shadows of life, to you I bring audacity!

The piece does indeed follow the poem quite closely, as the entire sonata seems to be an attempt to ascend from shadows to light. It begins with a low, mysterious trill that roars up the piano in a burst of passion. A melancholic two-note melody follows, which is contrasted with yearning, rising thirds; these two motives go on to form much of the piece’s structure. These motives slowly transform into ecstasy as we reach an energetic first theme built on animated, jumping chords. We struggle our way through a transition as a trombone-like, assertive melody repeatedly tries to take control but fails, ultimately leading into a caressing second theme that again tries to reach upward. Again, the music fails to fully reach the heights it desires and falls back to the bottom of the keyboard to repeat the explosive opening gesture, this time in a different key. As is typical in sonata form, many of the themes are iterated upon in the development as the “creative spirit” in the poem repeatedly tries to reach upward towards life but fails each time. The section closes as the second theme, previously soft and caressing, ascends to a singing fortissimo before a series of insistent, accented chords. The recapitulation takes things a step further, with the Presto tempo of the first theme of the exposition becoming Prestissimo. As we ultimately reach the coda, the texture thickens, with repeated chords creating a feverish drive. Above these chords are the two-note motive and yearning third motive from the soft opening section, now ecstatic and bursting with light. After much excitement and passion, we fall back to the bottom of the piano before the shadows ascend, yet again, for one final attempt at life. The music accelerates up the keyboard, faster than ever before, and flies off the top to close the piece.

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Haydn’s F major sonata, Hob. XVI: 23, is a witty little piece that exemplifies the charm that so many love about Haydn’s work. The first movement opens with a three-note dotted motive, which is then repeated twice, jokingly, to form the first theme; this joking repetition becoming a theme sets the tone for the whole movement. Haydn then iterates on it, alternating between various registers and harmonies, before moving to C major for the second theme. Curiously, though, this second theme is not lyrical as we might expect, but rather a virtuosic, violin-like solo. Throughout the rest of the first movement, Haydn plays with these themes, often shifting on a dime between affects. The second movement is an elegant yet melancholic Siciliano. Written in the parallel minor, the darkness of its F minor home key was surely a surprise to contemporary audiences, who rarely heard such dark keys for a whole movement. The movement’s Siciliano rhythm is carried by the left hand, while the right hand plays a highly vocal melody which spans large portions of the keyboard; it often falls all the way to the bass before rising back up. Throughout the movement, the vocal melody seems to struggle between major and minor harmonies before it ultimately closes in a somber F minor. The final movement is a comical conclusion of the sonata, which is very much needed after the darkness of the second movement. The humor in this movement comes from the unexpected changes in harmony and touch, and despite the movement’s sparseness on the surface, it is by no means easy to play. Its simplicity requires that the pianist be in full control of tone, dynamics, and articulation to fully bring out these humorous shifts.

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Sergei Prokofiev began composing the 6th, 7th, and 8th sonatas in 1939, and these three works would become known as the War Sonatas. Due to censorship in Soviet Russia at the time, both the 6th and 8th sonatas would be banned due to their avant-garde nature. The 6th sonata, although revolutionary for its time, still follows the standard sonata structure that can be traced back to Haydn: fast first movement, scherzo, slow movement, fast finale. The first movement opens with a theme built on major and minor thirds, which creates an ambiguity between A major and A minor. A second, more lyrical theme follows this before dissolving once again into chaotic dissonance. These two themes are then transformed, broken apart, and played simultaneously throughout the lengthy development before being recapped briefly to end the movement. The 2nd movement is a light march imitating the pizzicato strings of an orchestra. The character perhaps creates a sarcastic comparison to a military march paired with a childlike naivete. In terms of technical challenges, the movement contains some of the most difficult figuration in the entire sonata, such as the rapid left-hand arpeggios. A more subdued middle section creates a stark contrast with the detached opening. The third movement is a very slow, nostalgic waltz. Lush harmonies and sweeping melodies connect this movement’s character to the Russian Romantic musical tradition. The middle section begins with an ominous two-tone ostinato, creating a sense of unease despite the still-calm character. However, this section eventually descends back into the horrors of war with some incredibly dissonant harmonies. The movement returns to the opening waltz and, after a big climax, ends softly in C major. The final movement is a perpetual-motion whirlwind, and the almost constant 16th notes create an insistent, machine-like sound. Portions of the first moment, including the opening theme, return in the middle of this movement, creating a haunting reminiscence of what came before. The movement builds up to a frenzy, with incessant repeated notes hammered out above the turmoil. The movement ends with the opening theme of the sonata rapidly repeated across multiple registers before coming to rest on an A major sonority.