A Scriabinûs Poème, Op. 59, No. 1, and Poème, Op. 71, No. 2: Variations of Mystic Chord and Proposed Derivation from an Altered Dominant Thirteenth Chord

Abstract

AbstractThe mystic chord is very characteristic in Scriabin’s late works, in which he negates functional harmony.However, the sonority is found earlier in his tonal works, implied within the voice-leading as analtered dominant thirteenth chord. In the Poème, Op. 59, No. 1, and Poè me, Op. 71, No. 2, Scriabinvaries the chord by altering one or two pitches similar to the manner in which he alters the enricheddominants of his tonal works. This article demonstrates, through these two piano poems, variations ofthe mystic chord and proposed derivation from an expanded dominant harmony.Key words: mystic chord, Scriabin, expanded dominant harmony