Durham E-Theses. Desire and the drives: a new analytical approach to the harmonic language of Alexander Skryabin. Smith, Kenneth

Transcription

1 urham E-hee eire and the drive: a new analytical approach to the harmonic language of Alexander Skryabin Smith, Kenneth How to cite: Smith, Kenneth (2008) eire and the drive: a new analytical approach to the harmonic language of Alexander Skryabin, urham thee, urham Univerity. Available at urham E-hee Online: Ue policy he full-text may be ued and/or reproduced, and given to third partie in any format or medium, without prior permiion or charge, for peronal reearch or tudy, educational, or not-for-prot purpoe provided that: a full bibliographic reference i made to the original ource a link i made to the metadata record in urham E-hee the full-text i not changed in any way he full-text mut not be old in any format or medium without the formal permiion of the copyright holder. Pleae conult the full urham E-hee policy for further detail.

2 Academic Support Oce, urham Univerity, Univerity Oce, Old Elvet, urham H1 3HP el:

3 he copyright of thi thei ret with the author or the univerity to which it wa ubmitted. No quotation from it, or information derived from it may be publihed without the prior written conent of the author or univerity, and any information derived from it hould be acknowledged. eire and the rive: A New Analytical Approach to the Harmonic Language of Alexander Skryabin K.enneth Smith Univerity of urham hei Submitted for the egree of Ph 2008

4 .,r_ Abtract he aim of thi project are two-fold. Firtly, it aim to correlate the erotically charged philoophy of Alexander Skryabin with the progreive harmonic tructure of hi muic. Secondly it propoe a new harmonic theory which i deigned to offer a deeper undertanding of the way in which muic can repreent and embody the mechanim of the human 'drive'. hi involve unravelling the numerou trand of thought- both eoteric and maintream- that contructed Skryabin' idioyncratic and highly eccentric world-view. o undertand fully tlu complex body of idea it appeal to 20'" century pychoanalyi in the Freudian tradition. hi vital link connect Skryabin' interet in pychology and philoophy to hi compoitional procedure whilt howing that certain of Freud' idea were crytallied in writing on deire from the 1960 which alo brought the variou contradiction betrayed in Skryabin' writing into the potlight. In ome cae, Skryabin' muic itelf offer afe path out of hi philoophical quagmire, where the formal propoition of hi writing fail. Whilt the harmonic theory propoed i deeply rooted in the philoophy that Skryabin himelf tudied, it i equally grown from a correpondence between current trend of analytical thought in muic and analytical trend that have been predominant in Ruia. Whilt the firt chapter outlay the philoophical bai of my theory, the following three chapter explore the intricacie of my analytical ytem in purely muical term to preent a line of inquiry termed drive ana/yi. he remaining three chapter pick up the philoophical thread and lowly draw my variou trand together in a concluding analyi of Skryabin' Poem rif Ectary.

5 Content Foreword & A Note on Source and Quotation 7 Introduction 8 Chapter 1 he econtruction of the rive 10 Freud' rive and Lacan' econtruction 10 Muical rive- "A Science of onal Love"? 13 Orang 14 Quelle 16 Objekt & Ziel 23 Heteronymity: Skryabin' Mytic Chord and Kriteva' Chora 28 Sublimation veru Libidinal Intenity: Examination of the Middle to 34 Late tranition- Poem, Op. 71, no. 2 and Etude, Op. 56, no. 4 Skryabin' Philoophy of rive and eire 42 Chapter 2 oward a Codification of rive Intenitie 47 rive Intenity 48 he rive 57 Evaluation of Ue and Limitation of rive Analyi 77 Chapter 3 rive Analyi and it Viciitude 78 Libidinal Intenity 78 Polytonal rive Configuration and Pattern 84 Parallel icharge 85 Contrary icharge 89 icharge Combination 92 Neted icharge 93 rive Analyi and the Ruian radition: V arvara ernova 94 ernova and Polytonality 96 Critique of the 'ritone Link' 100 rive and Stylitic Change 110 (1) Middle tendencie ( ) 110 (2) Late endencie ( ) 111 Complete rive Ana/yJtS: ijir and Carwe danjie, Op he Way Forward 124 Chapter 4 'Ordering the rive': Navigating rive and eire 125 Xhrough onal Pitch Space Pitch Space: Mapping the Body 125 2

6 A ialectic of Space: Eroo Lendvai with Fred Lerdahl Poem, Op. 32, no. 2 Subtitution and [,ii Middle- Late Style Rotation: Fmillet d'albttm, Op. 58 Prelude, Op. 67, no. 1 Circularity and Linearity A Linear Model A Circular Model Skryabin: Synthetic Model Macrocomic Fifth Rotation: Sonata no. 6, Op. 62 Formalitie Summary icharge Compoitional Freedom Sonata in Focu: Skryabin' Sonata no. 10, Op. 70 Middleground: onal Functionality in 'Cohn Space' Foreground: Functional icharge Within Cycle he Integration of Minor hird and Major hird Related rive Background: Functional Specificity or Arbitrary Aignation? he Way Ahead Chapter 5 Ero & hanato: Melodic rive and heir Gendered 180 Role in Skryabin' Philoophy Melodic rive 180 Motive ~ and femininity 182 Motive (!; and Maculinity 184 A Polarity Act? Erotic Experience in Sonata no Maculine and Feminine/Life and eath: Freud, Skryabin and Ruian 198 Culture wo Apect of the Feminine: he Seductre and the Maternal 203 Maculinity- he 'Life rive' 211 Chapter 6 Evolution of the Muical Subject: Panpychim from heoophy to Muical Form 216 Philoophy: Blavatky' Conundrum and 20'h Century Gender Politic Mother or Father? A ialectical Interchange Father of Individual Prehitory' Muic Skryabin' Ver.r LaFlamme, Op. 72 rive Analyi I Melodic Analyi he Pinnacle of Evolution Poiei " 3

7 In the Beginning wa the Word rive Analyi II ijuncture of Philoophy and Muic: A Way Out? Chapter 7 A Hegelian Model of eire and he Poem of Ectay 248 he Poem of Ectay: he ext and it ialectic 248 Skryabin' New irection: Aborption of Hegel hrough a ialectical- 251 Materialit Filter Negative hematic Evolution: heme and the 'Struggle for 258 Recognition' Struggle for a Social, Stable Whole: he Unrolling of a Rugged, iatonic 262 Epilogue Harmonic enion, Cycle and ialectic Leap 266 (1) he Mechanim of Structural Rotation: Negation of the Cadence 269 (2) Cycle a Negation: ernova' 'Major Enharmonic Sequence' 270 (3) Harmonic Negation: he Subdorninant a Antithei of the onic: 273 Poem, Op. 71, no. 2 he onic a of?jet petit a 283 he Return Journey 286 Concluion 292 Bibliography 295 Key to the Appendice I Appendix A eir, Op Appendix B Caree anee, Op. 57 Ill Appendix C Sonata no. 6, Op. 64 v Appendix Sonata no. 10, Op. 70 XV Appendix E Ver la Flamme, Op. 72 xxvm Appendix F Poem of Ectay, Op. 54 XXXtt 4

8 Acknowledgement A with any four-year project undertaken by an individual, there are many people who have either purpoefully or inadvertendy helped it along. I would therefore like to take the opportunity to offer expreion of gratitude a appropriate. Firt and foremot i the upport and guidance of r. Michael Spitzer which ha been truly over-whelming. Michael' enthuiam for my work and hi critical engagement with it ha refined my idea immeaurably. When I think back to the embarraingly crude tate of my academic development when I firt entered hi office four year ago, I realie my inability to adequately thank him. Profeor Max Paddion too, for hi contant interet in my work and hi availability for dicuion and ability to offer freh perpective, ha been a fantatic ource of encouragement. Other academic both at home and in the State helped to orientate my reearch, particularly in it very early tage. o thi group belong Ellon Carpenter, Suie Garcia and Stephen owne. I extend thank to the taff of the Univerity' friendly Ruian epartment- Mariana, Branka, Irene, Veronica and Lada (in order of appearance) -who offered me the opportunity to it in on undergraduate language eminar and provided invaluable upport for a truggling Ruian tudent. On a imilar note, Patrick Zuk mut be thanked for hi interet in my Ruian tranlation and hi readine to correct and amend them. Other friend have direcdy helped by proofreading extract of the completed text. J ori de Henau, in exchange for a et of golf club, read ome ection, whilt Ken Smith and Lizzie Will checked other (free of charge). Mention mut alo be made of Stephen Clarke who created fig.4-15 uing pecialit deign oftware. Financially, the whole enterprie would have been impoible without the upport of the AHRC; their generou interet in my work wa alo a great encouragement. In connection with thi I remember my former upervior from King' College, London- r Michael Fend and Chritopher Winde- who acted a referee for my application, and who I neglected to adequately thank. he upport of family i certainly not taken for granted. Judith and Mike have provided upport in very practical way- culinarily, financially and hopitably- whilt Ken' low rent expectation have given me pace to work in phyical and financial comfort. Lizzie Will alo played a vital role in helping to maintain my anity in the latter tage of the project through the purchae of a Game boy AdvanceM and ome accompanying game, although a he it next to me now, uing thi ame equipment to catch Pokemon, I realie that her motive were probably elfih. he avitock Society have alo offered contant diverion when needed, and depite their effort to formally abotage my attempt to write-up whilt on a camper-van trip in the South of France, they have helped me immeaurably, and it i to thi group of mifit that I dedicate thi project. A Note On Source and Quotation he many quotation from Skryabin' muic are taken from the recent over edition of hi complete work, whilt other citation from Wagner are taken from variou edition (Schirmer, Schott), made available through Indiana Univerity' IUCA project. Although the analyi of Chapter 7 wa prepared uing over' full core of the Poem ojecta.ry, Pavchinky' piano trancription (publihed by Muzgiz, Mocow, 1955) offered a fairly reliable and le cumberome document to quote. A word on tranliteration: where tranlation are my own, I offer footnoted citation from Ruian text uing their original Cyrillic format and do not offer tranliteration. ranliteration on the name of key Ruian figure are preerved in their mot common pelling i.e. chaikot!k:y rather than ChaikotJk:y, depite the variou inconitencie that may arie from thi. In bibliographical reference, diparitie occaionally arie. For example, ome author tranlate Saban~yetJ a Sabaneejj; and I enure that citation alway reflect the author' intention. 5

9 Introduction eire and the rive: A New Analytical Approach to the Harmonic Language of Alexander Skryabin S kryabin wa a tme poet of tonal erotic caree and he can torture and ting and torment and fondle and tender!j lull with pungent onoritie; there i a whole "cience of tonal lotje" in hi compoition. hi eroticim i hi mot delicate and uneizable trait. 1 Leonid S aban~yetj From the beginning of Skryabin' hort career he earned a reputation a a half-crazed compoer with bizarre philoophical pretenion and a conflated ene of elf-worth that bordered on monomania. Hi ertwhile clamate and early biographer Leonid Sabaneyev recall, "From time to time I heard rumour about Skryabin and hi trange idea; he wa aid to be 'half-mad' and wanted to combine muic with philoophy." 2 hi enterprie truck Skryabin' contemporarie a pretentiou: "A philoopher! He think he ha combined muic and philoophy - indeed! "How do you reconcile hi multi-coloured wait-coat and lacquered boot with philoophy?" I thought." 3 hat Skryabin' 'philoophy' took a decidedly erotic turn i undeniable. A another of Skryabin' cloe friend record: «In hi dream of the end of univere, Skryabin aw ome kind of grandioe exual act." 4 Skryabin' fragrant poetry, o philoophical in nature, delight in the dreamy fantaie that characterie the Symbolit poetry of the Ruian Silver Age ( ): he ardour of the intant give birth to eternity, Light the depth of pace; Infinity breathe with world, Ringing ound envelop ilence. he great come to pa And weet delightful love I born anew! 5 And thi erotic train wa fuelled by the rie of pychoanalytical thought in the Ruian intelligentia, a movement that, a we hall ee, Skryabin wa keen to accept. Among Skryabin' book are found the 1 Leonid Sabaneyev, Modern RliSian Compoer (New York: a Capo Pre, 1975), «YbpeAKa AO MeW! AOXOAIIAH pa3hb!e CMyHbie CA)'XH 0 CKpR6HHe, 0 ero crpahhhix liaerx, 0 OM, LfO OH <illot.ycymacrnealllhji», LfO OH xolfe coeahhhh MYJhiKf c cphaocoqmeii?» Leonid Sabaneyev, Vopominani) a 0 Skryabine (Mocow: Claica XXI, 2003), «BO akqmaococp; AYMaiOlUHH MYJhiKY eme C cpnaococpheii COeAHHIIh, - AyMaAOCh MHe, - KaK ike BRiKyCR ero necrpbre ikhaehi 11 AaKOBhJe 6oHHKII c cpht.ococpaeti?» Ibid., Reported by Bori de Schloezer: Faubion Bower, be NewS criabin: Enigma and Anwm (Newton.\bbot, London: avid & Charle (Holding) Ltd., 1974), 18. Extract from the Prifa!OIJ' Act, Faubion Bower, Scriabin: A Biograpi!J' 2 (New York: over Publication, 1996), 271. Introduction 6

10 work of Maurice de Fleury, Ernet Legouve and Henry Lagreille, French writer who drew heavily on pychology in their ociological reearch. Skryabin' attendance at lecture on the experimental pychology of Wilhelm Wundt, and the heavy aborption of Wundt' idea into hi own philoophical journal, prove the impact of pychology to be more than a fleeting love affair. he compoer felt that only "by analying oneelf pychologically, by tudying oneelf, man can explain everything, including the whole como." 6 And thi outreach into the 'como' betray another of Skryabin' major facination- evolutionary drama: "Comic hitory i the awakening of concioune, it gradual illumination, it continual evolution." 7 hi chain of mutually dependant enthuiam- philoophy, pychology, eroticim and evolutionwill be the major concern of thi thei, a will be the mot vital link in the chain- Skryabin' muic. Highly controverial, highly ophiticated, highly dramatic and highly exed, Skryabin enjoyed great fame at home and abroad during hi lifetime. But popularity waned after hi untimely death, and brief reurgence of analytical interet in the 1960 did little to counteract Skryabin' marginaliation. Another hindrance to Skryabin tudie i the independent exploration of either hi eccentric muic or hi highly idioyncratic philoophy (ee Bori de Schloezer' warning that "It would be incongruou to examine hi muic and hi philoophy eparately"). 8 Perhap more damaging till i the uperficial ynthei of the two domain that yield only tenuou point of contact. 9 he undertaking of thi thei i to ketch a harmonic theory that can cope with Skryabin' fluid muical language, and that correlate to Skryabin' undertanding of the function of deire and it bai in the Freudian concept of 'the drive'. For thi project to materialie, numerou domain of both muical and non-muical thought will be brought into dialogue. he principal dicipline are: (1) pychoanalytic / philoophical theorie of deire; (2) focued analytical theorie pertaining to the current trend of Nco-Riemannian harmonic analyi; (3) data gathered from Skryabin' philoophical writing, converation and poetry. Whilt an attempt i certainly made to how that Skryabin wa a highly elf-conciou compoer, organiing hi 6 Bower, be New SC!iabin: Enigma and Anwer, Bori de Schloezer, S criabin: A1tit and Mytic (Oxford: Oxford Univerity Pre, 1987), Ibid hi complaint i echoed by Suie Garcia: Suie Patricia Garcia, Alexander Sk!] abin and Rl!tan Symbolim: Plot and Symbol intbe Late Piano Sonata (.M.A.: he Univerity of exa at Autin, 1993), 8. 'J Example of thi trend are Jame Baker' article, Saiabin' Mui,: Stmcfm! a P1im for M) timl Pbiloopby, in Jame M. Baker, avid Beach and Jonathan W. Bernard, Muic beory in Concept and Practice (Rocheter, NY: Univerity of Rocheter Pre, 1997). See alo Jaon Stell' recent article: Jaon Stell, 'Muic a Metaphyic: Structure and Meaning in Skryabin' Fifth Piano Sonata',Jouma/ of Muicological Reearch 23/l (2004). Stell aemble looe programmatic cliche from Skryabin' early commentator into a 'program' for the Fifth Sonata, Op. 53. He locate "a multi-tage, acending ba line that allegorize a theoophical belief in cycle of birth, growth, decline, and temporal and pitch motive that depict variou "age of exitence" in a theoophical comol~gy"(6):}3aker' own hermeneutic exam_i[}ation of the Poem of Ectary, Op. 54 lit even point of contact f.iet\veen philoophy" and ni.uic."hee remain tentative, uperficial and largely unupported. See for example, hi dicuion of theoophical 'plain' in which the 'ba' repreent the 'material' plain, whilt the melodic urface repreent the 'piritual' plain (88). No evidence ugget that Skryabin conceived hi texture thi way, and the dicuion i left open and highly equivocal. he ame i true for Baker' aertion that Skryabin' muic repreent the geometric propertie of a crytal (78). Introduction 7 _.[

11 idea according to trict principle, a modern critical focu will naturally highlight variou iue that will critique both Skryabin' objective and hi muical product. Chapter 1 comprie a preliminary ketch of way in which Skryabin' theorie of deire can correlate with hi muic through the concept of 'deire' and 'the drive'- term drawn from the contemporary pychoanalytical univere that wholly appealed to Skryabin. Connection between thi dicipline and the compoer will become apparent throughout the chapter, which will tentatively propoe a hypothetical model of how thee two term could be embodied and differentiated in muical dicoure. Chapter 2 retain analytical focu, concentrated on the dominant chord, hierarchically cataloguing the varietie of harmonic 'dt;ive' of which Skryabin avail himelf. Crytalliing Chapter 1, thi i baed on the common view that Skryabin' muic, though thoroughly modern, remain dominant-baed. A Roy Guenther claim: hat all Skryabin' late-tyle hould be thought of a "dominant" in origin i logical and conitent, not only with the tranitional tyle trait of prolonging the reolution tendency, but alo with Skryabin' philoophy that creativity wa for him an unceaing triving for an eluive goal. he tendency of a dominant chord tructure to reolve to it tonic i perhap the tronget tenion-releaing characteritic of tonal muic. 10 o thi end, Fred Lerdahl' recent work on tonal tenion will be my firt port of call. hi chapter and the following Chapter 3 will lead the reader through the variou graph that comprie Appendice A to F; they build an analytical method of microcopically crutiniing the variou 'drive' that flow in Skryabin' harmonic current. Allowing pychological invetigation to pill over into the analytical dicuion, I will term thi procedure dritje anafyi. Exploring ome of Skryabin' mot recurrent compoitional procedure will lead to a complete analyi of two of hi mot intimate 'erotic': the miniature eir and Caree anie, Op. 57. From thi analytical vantage point, dritjc anajyi will widen it focu in Chapter 4, urveying Nco Riemannian theory in an attempt to recontruct the variou 'flow' of thee drive in a muical 'body'. I will explore 'functional theory', particularly the work of Erno Lendvai and, more recently, Richard Cohn. etailed analyi of elected miniature, a well a two of Skryabin' late onata -the ixth and the tenth- will illutrate thi. 10 Roy J. Guenther, 'Varvara ernova' Sytem of Analyi of the Muic of Skriabin' in fumian heoretical hought in j\t111ic (Ann Arbor, Michigan: UMI, 1983), 180. Introduction 8

12 In Chapter 5, 6 and 7, I move from the analytical to the cultural, concentrating on the Ruian philoophical and pychological milieu in which Skryabin lived and worked. Chapter 5 will take a detour through Skryabin' portrayal of gender and eroticied experience, briefly examining certain melodic tendencie ('drive') that flowered in hi 'middle period'. hi will prepare for an exploration into the role of melody in my harmonic ytem through an examination of Skryabin' aborption of evolutionary drama. Such drama have trong philoophical, pychological and muical importance, which will be the focu of Chapter 6 and it analyi of Ver Ia Flamme, Op. 72. Chapter 7 will draw the variou thread of the thei together in a more radical umma tory analyi of the ymphonic Poem if Eata.ry, Op. 54. hi piece i accompanied by a text, explicitly referencing Hegelian deire theorie, which ugget certain way of conceptualiing tonal function and melodic tructure in Skryabin' larger work. Introduction 9

13 Chapter One he econtruction of the rive o him [Skryabin] it wa axiomatic that man i ordered excluive!j from force operating within himelf" Freud' rive and Lacan' econtruction B01i de S ch/oezer We have often heard it maintained that cience hould be built upon clear and harply defined baic concept. In actual fact no cience, not even the mot exact, begin with uch definition. he true beginning of cientific activity conit rather in decribing phenomena and then in proceeding to group, claify and correlate them. 12 hu begin Freud' eay, rive and heir Viciitude. he pychoanalytic term 'drive' i often taken for granted, yet it prove difficult to pin-down. Like 'decontruction', which errida claimed could not be defined, Freud left the definition of the drive open. After all, the drive i merely a hypothetical contruct- "one of our myth". 13 Even Freud' ardent follower Jacque Lacan, who added o much to drive theory, wa to call it a matter of "fiction". 14 Yet Freud regarded the drive a a "fundamental concept", and when Lacan recuperated the theory in hi Seminar IX: Four Fundamental Concept of P.rychoana!Ji, it tatu wa retained. Whilt I will attempt to find a working definition from a cloe reading of Freud' text, thi definition mut remain proviional, and will be further harpened by Lacan' o-called deconfr/l{tion ~f the drive. hi decontruction, in turn, will help ketch a theoretical outline of how Freud' dritje theory could elucidate muical dicoure. Firt, however, a brief explanation of drive theory. For Freud, drive were the "force that we aume to exit behind the tenion caued by the need of the Id." 15 Unlike Intinkte- particular organic need- Freud' riebe are dynamic and variable. 16 Intinkte can be atified from object in the external world uch a food and water, but riebe exert an interminable preure upon the ubject. Like a trong wind that can be gauged only by it effect on tree and building, the drive are impoible to oberve in themelve; pychoanalyt can only infer 11 Schloezer, St1iabin: Attit and Mytic, Sigmund Freud, he Cot!plete Work ofsigmllnd Fre11d,'dv (London: Hogarth Pre, 1957), 117. Strachey render the title 'Intinct and heir Viciitude' for reaon dicued in due coure. 13 Jacque Lacan, he Fo11r Fundammtal Concept of Pychoanalyi (London: Vintage, 1998), Ibid. 15 Matthew.Jame, 'Freud, La can and the Pychoanalytic rive', http: I I an. orgl drive.h tm (24 I 09 I 08). Jame quote Freud' "Outline of Pychoanalyi". 16-0ne on-he earliet problem witl1 tra-nlation of Freud wa the word 'riebe', which wa often tranlated a 'intinct', depite the fact that the German word 'lntinkt' correpond directly to our Englih 'intinct'. he Ruian language i perhap clearer: <<BOJKAeAeHm1» and <OKeAamie» equate to 'deire'; the word for 'intinct' i «HHCHHK> (lntinkt). 'rive' i uually tranlated a <<BAe'-leHne» i.e. the "death drive" i rendered <<BAe'-!eHHe K CMepnm (literally "drive toward death") and le often <<HHCIIHK cmeph» (literally "intinct of death"). Chapter One 10

14 them indexicalfy through the behaviour of their ubject. 17 A Freud ay, "Although intinct [drive] are wholly determined by their origin in a omatic ource, in mental life we know them only by their aim." 18 rive are purely phyiological reaction to timuli in nervou ubtance but they affect the mental life of the human ubject, where their activity can be oberved. A Freud ay, "If now we apply ourelve to conidering mental life from a biological point of view, an 'intinct' ['drive'] appear to u a a concept on the frontier between the mental and the omatic, a the pychical repreentative of the timuli originating from within the organim and reaching the mind." 19 Although highly ambivalent, the drive are acribed different function (i.e. the adomaochitic drive, the death drive, the anal drive, the genital drive etc.). However, they are ditinguihed only a varying intenitie in topological community with part of the human body. he only drive which differ fundamentally are the two primal drive: the "ego or elf-preervative" drive and the "exual" drive. 2 Furthermore drive are decribed a partial becaue they are bound to pecific area of the phyical body, becoming a functioning totality only through mental activity. A Freud ay, "hi much can be aid by way of a general characterization of the exual intinct. hey are numerou, emanate from a great variety of organic ource, act in the firt intance independently of one another and only achieve a more or le complete ynthei at a late tage." 21 hi later tage of organiation, for Freud, occur when the drive are ordered under the primacy of the genital drive in the mind of the mature ubject. he o/:jed and aim of each drive i a contentiou iue a we hall ee, but I tart with the premie that drive attach to any external object. Such object are choen via mental apparatu that interpret and re-route the biological drive through a proce called 11blimation: hey [drive] are ditinguihed by poeing the capacity to act vicariouly for one another to a wide extent and by being able to change their object readily. In conequence of the latter propertie they are capable of function which are far removed from their original purpoive action - capable, that i, of 'ublimation'. 22 Sublimation i the proce that will readily become important to u. Along with reveral, repreion and turning aro11nd upon the uf?jed' own elf, it i one of Freud' four 'viciitude' of the drive. he drive, which are incapable of achieving atifaction, are articulated into more practical deire. hu ublimation i tied to the concept of deire. eire i a ymbolic contruct, deeply embedded in the world of ign and language. Becaue a drive ha no pecific goal in thi outide world, it energy i 17 \!9cx'.ref!:r to Cha_ric, Sander Pi~rce' emiotic categoriation of ign a index, icon and ymbol IR Freud, he Complete lll'ork of Sigmtmd Frmd, 123. I? Ibid., :>o Ibid., Ibid., Ibid., 126. Chapter One 11 / - ;.:.,.

15 never atified; it remain fully reliant on the ymbolic retranlation which deire afford. eire, a a fale ymbolic recontruction of the pure material drive energy beneath, would eem to be the oppoite of the drive. But the term are often ued interchangeably, leading variou commentator (Fink and Zizek for example) to clarify the eparation of drive from deire. Moving the dicuion into muicology, the reearch of Lawrence Kramer highlight current confuion. Kramer examine the tranformation of image of the heat of deire into water and deire' fluidity at the turn of the 20'h century. Although peaking of 'deire', he quote Freud' hree Eqy in Sexualiry (1905), which pertain to the exual 'drive'. 23 But we mut not go too far; a rigorou eparation of drive and deire can mitakenly lead u to view the term a antipodal, ignoring the tenile overlap that exit between them. A a (pot-)tructuralit,jacque Lacan devote a lecture of Seminar XI to he econtmdio11 of the ritje, in which he blend the term in very fruitful way. he principle aumption that Lacan break apart i that the drive are primitive, unconciou bodily energie. Lacan how how drive work within a cultured environment and are tructured through a relationhip with the Symbolic Order, primarily in the form of language. 24 rive, for Freud, exit a bodily timuli but can be retructured, reoriented or reorganied to accommodate themelve to outer timuli, where they latch onto idea and proliferate a deire. hi i generally taken to be a 'one way' journey, but for Lacan, the return alo occur: the drive can be ordered through their relationhip to the Symbolic Order via the demand that they articulate. Lacan' illutration i the baby that crie, thu making a pecific demand. he baby, alienated from it own body, doe not know it exact need and it i the parent who interpret and atifie the demand. For Lacan thi i alway a miintetpretation that tructure future demand and, in turn, tructure the drive. A Lacan ay, "At the moment when the ubject articulate the firt demand, the field of pure want ha already been tranformed by thee object into the field of the drive." 25 Hence hi famou dictum, "he unconciou i tructured like a language". \V'herea Freud illutrated the drive with mechanical imagery (which in our own time reemble eleuze' 'deire machine') Lacan trip them of thi imagery, viewing them a ocially contructed phenomena. 26 hi decontruction rebind the two term; one can no longer claim that drive are primitive and deire i cultural. ~'Lawrence Kramer, Mmic a Cnltnral Pmdice, (Berkeley: Univerity of California Pre, 1990), Lacan~ 'Symbolic Order' relate to the ocial world of ign and repreentation from which a newborn child i initially alienated. 25 Jacque Lacan, Juliet Mitchell and Jacqueline Roe, Feminine Sexuality : Jacqne Lacan and tbe Ecole Freudienne (New York: W.W. Norton, 1985), eleuze tellingly claim, "rive are imply deiring-machine". Gille eleuze and Felix Guattari, Anti-Oedipn (London: Continuum, 1988), 37. Chapter One 12

16 hu the iue i highly complex, but Bruce Fink, one of the bet commentator on Lacan' concept of deire v. drive, find the mot ueful ditinction in drive' location in the ubject and deire' location in the Symbolic Order; deire orientate the drive that pulate beneath the urface toward a tranitory object in the hope of atifying the 'real' drive beneath it. Becaue the drive are articulated within deire (a form of ublimation), ome propertie of drive hold true for the deire that engulf them. I now propoe a theory of how Freud' drive theory, and it relationhip to deire, can operate in muical harmony. A I crutinie Freud' propertie of the drive it mut be undertood that thee are alo tranferable to that deire that ublimate it, and the tranition between the two will become crucial to the tructure of Skryabin' muic. hi will be explored toward the end of the chapter through an analyi of two piano miniature. Muical rive- "A Science of onal Love"? Muic itelf i often a caualty of philoophical-pychoanalytical dicoure in muicology. he irony i all the greater that muic i myteriouly annexed-off by philoopher a the innermot anctum of unconciou procee: Schopenhauer claimed muic to be the direct copy of the lp'i/l Kant' ing an ich; Nietzche alo poited muic a the embodiment of all thing ionyian~ both are eentially unconciou phenomena. 27 Yet the realm of philoophy and muic hare an untructured relationhip. In many repect, the project of bridging thi cham between the theoretical drive and muical ubtance ha already been long under way. Ernt Kurth analyed the 'wave of energy' which muic excite, viewing chromaticim a 'will'- "an urge toward motion", "potential energy"; 28 Leonard Meyer taught how muical 'tendencie' operate on a litener' expectation; 29 Fred Lerdahl, following hi work with Ray Jackendoff, formulated mathematical model of muical 'tenion'; 30 aniel Harrion analyed the 'dicharge' flowing through Neo-Riemannian functional harmony. 31 Heinrich Schenker ued imilar language in 1935: "the fundamental line ignifie motion, triving toward a goal, and ultimately the completion of the coure. In thi ene we perceive our own life-impule in the motion of the fundamental line, a full analogy to our inner life." 32 And again, he claim, "[each pitch) i 27 Arthur Schopenhauer, he World a Will and Idea (London: J.M. ent, 2004), 164; Friedrich Wilhelm Nietzche, he Bi1th of ragedy Out of the Spirit of Muic (London: Penguin, 1993). Nietzche further ubdivide the will into three muical categorie: (1) the 'indecipherable' (the origin of muic), (2) the 'will' (it ubject), (3) 'emotion' (it ymbol). Carl ahlhau, Between Romanticim and ModerniJtn (Berkeley: Univerity of California Pre, 1989), Ernt Kurth, Ernt K.Jnth: Selected WritiiW (Cambridge: Cambridge Univerity Pre, 1991), 106. ~ 9 Baed on Getalt pychology, Meyer formulated variou implication-realiation model. Hi theorie, like Schenker', are baed on.the baic premie that untable (i.e. dionant).tone.have an innate pull toward a point of harmonic tability. Leonard B Meyer, E>..plaining Muic: EJSay and Exploration (Chicago: Univerity of Chicago Pre, 1978). 3 Fred Lerdahl, onal PitdJ SpaL"e (Oxford: Oxford Univerity Pre, 2001). 31 aniel Harrion, Hannonic Function in Chromatic A1uic: A Renewed ualit heory and an Account of It Precedent (Chicago: Univerity of Chicago Pre, 1994). 32 Candace Brower, 'A Cognitive heory of Muical Meaning', Journal of Muic heory 44/2 (2000), 333. Chapter One 13

17 poeed of the ame inherent urge to procreate infinite generation of overtone". 33 Particularly intereting in thi regard i the Ruian analytical tradition: Alexander Milka ued the term "tyagatenie" in the 1960, which, a Ildar Khananov how, mean "drawing to", "need for reolution" and "urge"; 34 Gregory Conju, Schenker' contemporary, wrote about harmony' "act of creative will" in 1933, coining the term "pule wave" in reference to Nietzche' 'will to power' and Bergon' 'elan vitale'. 35 What are life impule, mergy, tmion, urge, tendmry and dicharge but theorie of the Freudian drive 'by any other name'? Freud lit four fundamental propertie of the drive in hi 1915 eay 'rive and heir Viciitude'. 1. hey are a contant force, exerting preure (rani) on the ubject. 2. hey are multivalent and independent; ariing from variou ource (Quelle) through internal timulation (Rei-\). 3. hey are ambivalent and have no pecific aim (Zie~ other than to dicharge themelve. 4. hey are capable of being ublimated toward a pecific object (Of:jek~ within a deiretructure. Lacan' decontruction tackle each potulate individually although, in hi dene proe, the four link together. Scrutiniing each in turn, I examine poibilitie for muical correlation. Working through my muical mapping of Lacan' four decontruction will alo reveal how the muical drive i a ocially contructed phenomenon. I will alo how how the drive function in harmonic language of the 19'h century. But my model of the muical drive will break down a I approach the fourth of Freud' drive propertie. It i preciely thi breaking point which will invite a dicuion of the mytical 20'h century harmonie of Alexander Skryabin. rang Jacque-Alain Miller tranlate rattg a 'thrut', but one can alo interpret it a 'preure'. Lacan define it a a "mere tendency to dicharge". 36 In muic, a Rameau claimed, the need for a dionant onority to reolve "drive" all tonal muic. 37 Naturally the archetypically tene harmonic onority, and therefore the chord which contain the greatet rang, i the chord that expree the dominant function- 33 Heinrich Schenker, HamJOII)' (Chicago: UCP, 1906 (1968)), Ildar Khannanov, &uian Metflodology l!flv111kal Fom1 and Ana/yi (Ph, Santa Barbara: Univerity of California, 2003), Ibid., Lacan, he Fo11r Fundammtal Concept of Pychoanai)'Si, homa Street Chritenen, Rameau and M11ical hought in the Enlightenment (Cambridge: Cambridge Univerity Pre, 1993), 120. Chapter One 14

18 typically V 7. And thi chord i often regarded a the backbone of Skryabin' muical form. 38 But in hi 1915 rive and their Vid.ritude, Freud wa clear that drive have no differentiating "quality"; they exercie different function only in regard to their "quantity" or intenity: Are we to uppoe that the different intinct which originate in the body and operate on the mind are alo ditinguihed by different qualitie, and that that i why they behave in qualitatively different way in mental life? hi uppoition doe not eem to be jutified; we are much more likely to find the impler aumption ufficient- that the intinct are all qualitatively alike and owe the effect they make only to the amount of excitation they carry, or perhap, in addition, to certain function of that quantity. 39 And thi tranlate fluendy to our harmonic drive where the dominant function embodie varying degree of intenity. However the function manifet itelf, the mot potent unit within the chord i the tritone- the diabolu in muica. A Richmond Browne claimed, thi 'raret interval' i the tronget defining agent of tonality. 40 By manipulating the other pitche of the dominant onority one can increae it tenion value. ypically, S can be augmented or diminihed; even the element of the tritone- the third or the eventh of the chord- can be chromatically altered and till retain the dominant function in ome circumtance, though uch modification can weaken the level of tenion. Steve Laron clarifie thi, claiming in one intance, "he abence of a root-poition dominant immediately before the tonic weaken the drive from V to I". 41 And thi form of drive- the dominant chord- will be the primary concern of thi thei. ominant variant are not particularly excluive to Skryabin, all of them common to the 19'h century' harmonic lexicon, but here I briefly mention a few, by way of illutration. One particularly important onority i the V chord with diminihed fifth. Peter Sabbagh dicue Skryabin' youthful aborption of thi chord, dicuing it relation to Chopin' tyle. 42 hi example from Skryabin' early Prelude, Op. 11, no. 2 how a B 7 chord with the diminihed fifth- Fq- in the ba of m. 2, moving to an E minor chord, emphaied through the ba B-7 E motion. 3R Varvara ernova how that Karatygin undertood Skryabin' harmonie a dominant functioned in 1916: Roy Guenther, Va17!ara emova' "Gannoniia Sk1iabina": A ranlation rmd Oitical Cotmnentary (Ph: he Catholic Univerity of "-\merica, 1979), ~J:reH.clJke Compjete lf7o~~ I![SigmmidFrmd,) Richmond Browne, 'onal Implication of the iatonic Set', In heory On!J 5/6-7 (1981). 41 Steve Laron, '"-\ onal Model of an 'Atonal' Piece: Schoenberg' Opu 15, Number 2', Penpertive of New Muic 25 (1987), Sabbagh refer to the chord a the 'Chopin Chord': Peter Sabbagh, he evelopment o[hannony in Scriabin' Work (USA: Univeral Publiher, 2003), 41. Chapter One 15

19 Allegretto.1=138 rit. a tempo fl ~ F.,._. ~ ~ { p fl. ~ ~ : r r r llj... ~ r-.._.../r FIGURE 1-1: PRELUE, Or. 11, NO.2 * Perhap only lightly le common i the dominant chord with the augmented fifth. Lento J=72-80 ~ i i I I I I I I - 3 FIGURE 1-2: PRELUE, Or. 11, NO.4 Here, the raied fifth - Gq - pre-empt the more conventional reolution from F# to Gq in E minor. In o doing it preent an augmented chord with an added eventh. Andantino M.M...J.66 II II II. J op11nr'. i-t)'- mf f r r-r-r- lq~ ' L ur,- l"a.bato :::::=fr.rnl _.w. *'- -.-~. #fmc FIGURE 1-3: PRELUE, Or. 11, NO.9 In m. 3 of Prelude, Op. 11, no. 9 the conventional eventh-chord i doubly altered, containing a minor third and a diminihed fifth. he C# of the previou meaure chromatically move to q to create a diminihed fifth. hi in turn combine with the minor third-a- to create a dominant-functioned peudo- F# 7 chord ('half-diminihed') which naturally move toward a B 7 chord. In Chapter 2, dominant-functioned chord will be collated, and Fred Lerdahl' formulae for calculating tonal tenion will help to build a hierarchal table of trength (or intenitie) for each chord. Suffice to ay at thi tage that modification to the dominant function increae or decreae the drang- the preure- of the dominant drive. All of thee chord, and indeed the function they expre, contain varying preure -one of the chief propertie of the drive. Chapter One 16

20 QueUe Freud regarded all drive a partial, meaning that the 'oral drive', the 'anal drive' etc. are each aociated with pecific area of the body. uring infancy thee drive are mixed and confued, pulling the ubject in numerou imultaneou direction, making it 'polymorphouly pervere'. 43 Puberty open up the 'genital drive' that draw ubidiary drive into a ingle fully developed totaliing tructure. Lacan make one crucial change to thi Freudian paradigm. Whilt he affirm the drive a a partial repreentation of a ingle exual function, he how that thi exual rubric i not hegemonic. Further, thee partial drive are aociated with pecific area of the body a erogenou zone that are "rim-like" tructure. he mouth, for intance, i regarded a an erogenou zone, but of coure the oeophagu and the tomach that play an equal part in the digetive act, are not. he drive, which, in the normal functioning of a fully developed ubject, are uccefully repreed, become aroued only through the mediation of thi "rim" -the urface that i timulated and excited. Where do we locate thi rim muically? In other word: where can the dominant drive be activated in muical material? hrough what are they initiated? Naturally thi initial urface excitation occur in variou muical parameter. For example, the rim could be located patially, at the outer edge of a chord' articulation, either a the melodic or ba pitch. One could alo explore the muic' temporal flow and find the rim at the edge of phrae contruction. Naturally, both could co-exit. he dominant drive frame muical phrae a cadence point in cooperation with melodic approache to tability- typically the decent of 2- i. Cadence are certainly the moment where tenion i releaed via the tonic chord; whilt avid Huron call cadence "the mot predictable paage in muic", Suan McClary call them the "ceation" or "death of energy." 44 But the cadence i alo the place where tenion i mot acutely aroued, via chord V and it linear election in the chord progreion. In thi cae, the yntactical poition of harmonic I melodic interchange can activate the drive. But for Lacan and Freud, drive are aroued in two way: (1) internally and (2) externally. How could thee be muically categoried? External xtinmlation of harmonic drive, partly concerned with the rim, could decribe numerou ituation. A mentioned, it could refer to a melody that activate the harmony that lie beneath it; it could alo be a conventionally yntactical 'chord equence' which, through tradition, dictate where the dominant-drive will be placed. An example could be the I-IV-V 7 -I progreion. hee external timulation are regulated by conventional melodic I harmonic practice Lacan' Symbolic Order- and in the following dicuion I focu only on internal xtimu/ation. Freud "''Polymorphou perverity': For Freud, the newborn infant find autoerotic gratification from many indicriminate ource. 44 avid Huron, Sll'eet Anlitipation: Muit and the P!] thology f!fexpectation (Cambridge, Ma.: MI, 2006), 164; McClary Suan McClary, Feminim Ending: lv111ic, Gender, and Se:x71ality (Minneapoli: Univerity of Minneota Pre, 1991), 127. Chapter One 17

21 term drive excitation Reiz but, a Lacan explain, "the Reiz that i ued when peaking of the drive i different from any timulation coming from the outide world, it i an internal Rei:(. 45 he drive are therefore excited from within themelve, and thi radically impact upon our muical finding. hi i congruou with Schenker' concept of muical motion: ''\Ve hould get ued to the idea that tone have live of their own, more independent of the artit' pen in their vitality than one would dare believe." 46 In muical term the conflict between drive a internal and external Reiz can become analogou to the debate of whether harmony (internal) or melody (external) control muical motion. hu we enter the Querelle de Bou.ffon, and find Rameau arguing with d'alembert that harmo'!y give rie to melocfy. 47 "For Rameau, harmony wa 'the ole bai of muic and the ource of it greatet effect'. By contrat 'melody only obtain it force from thi ource [harmony], from which it proceed directly."' 48 Rameau poited that the diatonic cale aroe from a ingle fundamental pitch, and that melody find it root in harmony, which therefore propel muic forward. Koch' Veruch yntheie both harmony and melody through a imilar demontration. Indebted to Rameau and Marburg, he claimed, "a melody contain in itelf the bai of it harmony". 49 But even within Koch there are contradiction; at one point he explain that modulation i caued by the 'arbitrary' chromatic raiing of a melodic pitch, which lead Nancy Baker to announce that, according to thi idea, "the harmony arie from the melody". 50 In thi context then, the iue of internal/ external Reiz i a thorny one, in great need of prurung. Focuing on harmony- particularly the dominant to tonic motion- a a driving principle, Reizi found in the variou tone that hape the dominant chord and facilitate the pulation of tenion. he pure tritone i the primary form of drive and the epitome of intability; it need to reolve to a table chord. he interval would be tatic in itelf, caught between two dicharge poibilitie; it need other pitche to peruade it to move in a certain direction. hee additional pitche - 'within' the chord - timulate the tritone drive it encloe. Ernt Kurth emphaie thi iue in the cae of Wagner, referring to the 'force' of the tone: "it i common [in Wagner] for the ame tone to have two directional tendencie, and thi phenomenon indicate a compreion of force." 51 hi vertical compreion i, of coure, the imultaneity of the drive. 45 Lacan, he Four Fundammta! Concept of Pychoana!Ji, Schenker, HamJO'!)', xxv. 47 For a handy ynopi of thi erie of argument, ee Jonathan Bernard, 'he Principle Element: Rameau' "Controvery with 'alembert"', Joumal of Muic heory 24/1 (1980). 48 N;tncy Ba)<er, "Oer Urtoff, der Muik': Implication for Harmony and Melody in the heory of Heinrich Koch', Mtuic Ana!Ji 7/1 (1988), See alo debate in Italy; S Cuick, 'Gendering Modern Muic: hought on the Montiverdi Artui Controvery', ]oumal of he Amnican Muicological Society (1993), Baker, "er Urtoff der Muik': Implication for Harmony and Melody in the heory of Heinrich Koch', S. 50 Ibid., Kurth, Emll0irth: Selected lf71ifi11g, 113. Chapter One 18

22 & FIGURE 1-4: POENIAL ISC!-LA.RGE PAHS FOR HE SINGLE RION!:.: It require a pecial kind of muic to illutrate thi organic, 'internal' aroual of the drive. urning briefly to Skryabin' Poeme-Nocturne, Op. 61, a G-AP-B-BP melodic cell i anwered by an F-0-P-G motive in the ba. he final EPP geture of m. 2 (and m.3) complete an enharmonically repelled G 7 chord, and thi i the reult of a five-tage proce: _11... mojto rit =-= - =- v ~~ '-' poco ~.. I_.-. a r.. -- ~~ ~... t t!"'-- ~ FIGURE 1-5: POEME-NOCURNE, OP he melodic fragment in m. 1 etablihe G a an important pitch, but certainly not a tonal centre; the AP, B and BP prevent hearing it a a tonic, thu alienating it from both G major and G minor key. 2. he left-hand articulate a tritone interval- F / CP (B). hee are 'diconnected' from the melody: the F could be heard a a cononant fourth-relation to the melodic BP, but the following CP create a dionant 'jar'. 3. he CP -7 P manoeuvre now begin to ugget an incomplete P 7 chord (the fifth i omitted, though it could till reonate with the AP of m. 1). 4. he addition of Gin the ba make the previou three pitche (F, 0, P) ound a a G 7 " 5 chord (a French ixth). 5. he melody ceae it riing trajectory and an abrupt decent bring the EPP to light, emphaied through a fermata. Neither truly melodic nor truly harmonic, thi pitch 'correct' the P fifth of the G 7 chord hu a complete 'dominant drive' i contructed entirely 'from within'; no melodic or cadential imperative call it into being. From it initial inception a a dionant ba tritone figure, the drive Chapter One 19

23 pread itelf out acro the melodic urface, engulfing the melody entirely. he drive can be internally timulated depite the fact that, in traditional harmony, it doe not tend to be. One of the principal qualitie of the drive i it peritence. Lacan remind u that Freud "cannot conceive of it a a momentane Stokraft ['intantaneou triking power']", and that Freud decribe the drive a a contant energy (kontante Kraft).; 2 In the drive there i no quetion of kinetic energy; it i not a quetion of omething that will be regulated with movement... he contancy of the thrut forbid any aimilation of the drive to a biological function, which alway ha a rhythm. he firt thing Freud ay about the drive i, ifl may put it thi way, that it ha no day or night, no pring or autumn, no rie and fall. It i a contant force.' 3 And thi i the point at which an examination of Claical and Romantic muic take leave of the 'drive'. In claical phraing, 'dominant drive' are excited at cadence point and dicharged immediately. hi i becaue they are ublimated into object-orientated tructure that will oon be called 'deire'. In the 19'h and 20'h Centurie thing began to change; cadence were no longer the only place where drive erupted and, in Skryabin' late tyle, drive energy flow freely through the muical urface. Jean Fran;oi Lyotard begin Libidinal Economy with the horrifying image of a dimembered human body, the piece reaembled to create a giant "libidinal band". 54 hi tranlate directly to Skryabin' muic where the diatonic ytem i 'torn apart' and the drive, which it previouly regulated through repreive control, now take over the organic body. A glimpe at a paage uch a thi, from Etude, Op. 56, no. 4, illutrate that Skryabin doe not aroue the drive via an external 'rim'; the drive are highly peritent force throughout. FIGURE 1-6: EUE, OP. 56, NO.4 he full complexity of thee drive will be analyed in due coure, but even confining an analyi to the left-hand chord can illutrate Skryabin' drive operation. An F 7 drive move immediately to a B 7 drive and i followed by a Gf drive, a 7 drive, a G 7 drive and a ~ 7 drive. he 7 ~G 7 progreion i the only 'dicharge' here; the drive remain peritent and are certainly aroued 'from within' a an internal Reii; melodic and cadential concern do not control the flow of drive. 52 Lacan, he Four Fu11damental Concept ofpychoahajyi, Ibid., Jean Fran<;oi Lyotard, ubidinal Econoii!J (London: Continuum, 2004). Chapter One 20

24 Even in Skryabin' earliet compoition, cadence-point were turned inide out, often preented a opening rather than cloure. ominant drive were initiated in unuual place, often retaining their charge through changing harmonie. In the following example, again from an early Prelude, Op. 11, a cadential drive dicharge in the econd beat of the firt complete meaure a the melody rie S Andante cantabile.j=4o I I I /. pp FIGURE 1-7 (A): PRELUE, OP. 11, NO.5 he opening chord i a eventh chord on A and aume the role ofv in the key of. But only the leading tone of the drive i dicharged a the C# pitch rie to the ; the A plit into a G and B, outlining the ubdominant chord of G. he third of thee chord diplay another dominant implication via the pitch C#, although the ba outline the pitche F# and A in an ambiguou homogeniation of the dominant chord-a- and it relative minor- F#. he ambiguity between two key - major and B minor- i maintained in the following chord. A dominant -7 tonic dicharge in the key of alo contain pre-cadential hint at the pitch Bin the left-hand, uggeting an alternative dicharge in the relative minor key, albeit a marginalied one. In thi extract the drive i the firt thing we experience, but it i attached to nothing. A more conventional opening would initiate the tonic immediately and the tritone drive would be aroued only at the point where the melody initiate the 7-8 -'the rim': Andante cantabile.j=4o I I I pp... ~to FIGURE 1-7 (B): PRELUE, OP. 11, NO.5 -A REINERPREAION But in Skryabin' compoition, a drive arie in the particular key of major; thi drive contain preure which would lead it in a pecific direction; thi direction i then preented in a harmonic yntax that orientate it toward a conventional IV ~v~i progreion. Yet thi fail to atify becaue tlli 'ymbolic' repreentation of the opening drive chord in m. 2 leave the actual preure (ranij of the drive behind (the eventh i omitted and the potent tritone i therefore abent). he drive perit Chapter One 21

25 throughout the piece but uffer imilar repreion to allow formulaic chord progreion to articulate it a a repreentation- a 'mirecognition'. But Skryabin alo allow other drive to erupt beneath the urface; onoritie become highly ambiguou, indicating no ingle object, often working in imultaneou key. However, in Skryabin' late ryle, drive pulate irregularly in eemingly aleatory direction, reiting uch orientation toward ingle object. And thee drive can occur imultaneouly, conflicting within a ingle vertical onority. Skryabin' late opue contain drive in numerou key and are certainly not aroued at the rim; rather, they dominate the harmonic and melodic urface. rive proliferation in Skryabin' late tyle i revealed in the following example. FIGURE 1-8: POEM, OP. 71, NO.2 In thee opening four meaure dominant drive are harmonically fued. he left-hand articulate a 7 tructure with the fifth augmented to a BP, driving toward G major. But the pitch E in the upper line participate in a e drive, ariing in the middle of the meaure, thi time with a diminihed fifth - F#. hee drive return in m. 3, both moving toward their object in m. 4- G and F. he G chord i articulated in the upper third-trill, reonating with the eventh - F - in the ba; the F 7 chord i contained in the pianit' left-hand. he entire drive tructure of thi piece will be examined thoroughly in due coure, but thi brief example illutrate that drive both ynchronically and diachronically flow through a hort ection of muic. hee drive are often broken down into their characteritic component and preented in a rather diconnected chain. In the next example, in no particular key, a conitent eventh- C and B~embody a weak drive toward F major, followed by a drive baed around a 7 chord: the B~ reolve to an A (a it would in F major) and the A-F# motive i repeated over a in the tenor regiter; the pitch C linger in the ba. Chapter One 22

26 FIGURE 1-9: POEM, OP. 63, NO.1: "MASQUE" Skryabin certainly recuperated claical phrae tructure, chooing to articulate hi material in clearly defined four-bar unit, but rather than allow the drive to become excited toward phrae end - at the rim of the tructure - he choe to open the repreive barrier and allow them to flourih unfettered. 55 he 'rim' then, top being applicable to Skryabin' late work, which portray the drive a a contant force. hi i becaue Lacan' (and Freud') focu on the rim a it pertain to the drive i omewhat mileading. he rim i the gateway through which the drive i articulated in the Symbolic Order, it i a mechanim for releae from the tructure of mental repreion. Skryabin' harmony then, repreent an internal Reiz. hi will be the ubject of the remainder of the thei. Objekt & Ziel What i the object of the drive? hi quetion caue confuion amongt Lacan' commentator. Freud i fairly trict, however, claiming that: "A far a the object of the drive i concerned, let it be clear that it i, tricdy peaking, of no importance. It i a matter of total indifference." 56 Lacan however, denie thi ambivalence, uggeting that object choice can be traced along a metonymic chain to their root: the lot real. For example, the oral dritje for food i a metonymic replacement for the maternal breat. Some go even further and regard the drive a intenely object-orientated. Zizek, in an attempt to elucidate Lacan' drive theory through popular culture, miread drive teleology. He examine the cinematic trope of zombie who return from the dead to eek a pecific victim, refuing to be ditracted by anyone ele: "A drive i preciely a demand that i not caught up in the dialectic of deire, that reit dialecticiation... it i a "mechanical" initence that cannot be caught up in dialectical trickery: I demand omething and I perit in it to the end." 57 Fink take a imilar interpretation: "he drive couldn't care le about prohibition and certainly doen't dream of trangreing it. he drive 55 hi obervation- that Skryabin adhered to onata form- i made by many, but i a particular concern of Jame Baker. Jame M. Baker, he Muic ofa/exander Scriabin (New Haven: Yale Univerity Pre, 1986), 17 ff. A thorough dicuion of irti.ilat repetition / phraing technique in relation to Ruian muical tyle can be found in Richard arukin, 'Review: "he Muic of Alexander Scriabin", Jame M. Baker & "Scriabin: Artit and Mytic", Bori de Schloezer', Muic heory Spedt7ttll 10/10th Anniverary Iue (1988). 56 Lacan, he Fo11r F11nrlamenta/ Concept of Pychoanalyi, Slavoj ZiZek, Looking Awry: An Introduction to Jacque Lt1can through Popular Culture (Cambridge, Ma.: MI Pre, 1991 ), 21. Chapter One 23

27 follow it own bent and alway obtain atifaction." 58 hi i omething of a minomer of coure - the drive doe have an object, but thi object i never reached. A Lacan ay, "By natching at it object, the drive learn in a ene that thi i preciely not the way it will be atified." 59 Lacan claim, "Ia pulion en fait le tour"- a double-pun in which the drive both 'trick' and 'move around' it object. 60 In harmonic dicoure thi 'indifference' i difficult to imagine a dominant chord do eem have a natural object: the tonic chord. Intabili!J ha tabili!j a it goal and thi i embodied mot clearly in muic by the perfect cadence. But it could be argued that thi form of atifaction i tranitory and ultimately unfulftlling. After a cadential point of repoe, drive alway re-emerge in a ubequent phrae. A compoer need to quell thi tenion by re-emphaiing the tonic chord numerou time at increaed volume in the coda of a ymphony' finale in order to convince u that the dominant drive have been atified- a form of 'repetition compulion'. 61 In Skryabin' earliet piece thi paradigm became conventional. hi example from Prelude, Op. 11, no.4 i lifted from a miniature of 28 meaure in length, of which the lat 8 imply affirm the tonic key of E minor by repeating the V -7 I progreion. f\jj - u rr r ~~rrr tr r ttrrr-...,~..... rrr-r I,;,-;::: - ~ J H-=: -- :::-, PPP I rrr-r -- _., ~ :! --== FIGURE 1-10: PRELUE, OP. 11, NO.4 Lacan note that Freud write 'atifaction' in inverted comma, and he jokingly over-implifie thi problem: "Well, that' imple enough you'll ay. he ati.ifaction of the dn've i reaching one' Ziel, one' aim." 62 But Lacan ugget that thi wa an enigma which Freud left other to olve, hinting that Freud left a key to thi riddle in one of the viciitude of the drive -ublimation. Lacan illutrate that drive tenion i 58 Bruce Fink, A Clinical Introduction to Lacanian P.rychoanalyi: heory and echnique (Cambridge, Maachuett: Harvard Univerity Pre, 1997), Lacan, he Four F11ndamenta/ Concept r!f Pfyrhoanalyi, Ibid.,J In 1920, Freud located the 'repetition compulion' in a child' attempt to mater hi toy by throwing them out of the pram and then reclaiming them. 'Repetition compulion' relate to our need to relive traumatic experience (uch a a dionant- cononant pattern) in order to deal with them. Sigmund Freud, Bryond the Pleaure Pn.nciple (London, Vienna, 1922). 62 Lacan, he Four Fundamental Concept r!f P.rychoanai)'Si, 165. Chapter One 24

28 dicharged through ublimation. In a typically colloquial (yet illuminating) moment, Lacan claim, "for, the moment, I am not fucking, I am talking to you. Well! I can have exactly the ame atifaction a if I were fucking. hat' what it mean. Indeed, it raie the quetion of whether in fact I am not fucking at thi moment." 63 But atifaction, even through ublimation, i impoible: "the path of the ubject pae between the two wall of the impoible [the poible and the Rea4." 64 Sublimation i an attempt at atifaction without repreion, but ifelgehemmt (it aim, atifaction) i never attained. Lacan' primary concern wa to decontruct the object of the drive. He how that it objective i imply to leave it circular path, move around it object, and return to it orbit: "What i fundamental at the level of each drive i the movement outward and back in which it i tructured." 65 In other word, the drive ite!f doe not wih to be atified. In Seminar XI, Lacan draw the following well-known diagram. Goal FIGURE 1-11: LACAN'S MOEL or HE RIVE CIRCUI he drive reache out of the rim a a 'demand', returning to it path of it own volition. Lacan how how "the tenion i loop haped and cannot be eparated from it return to the erogenou zone." 66 Another of Lacan' major contribution i the eparation of the French word but into it two Englih equivalent: aim and goal He interpret the 'aim' a the path taken to achieve the 'goal', which i the end-point. he drive' purpoe i it aim- not it goal: it want to perpetually follow it coure, thu it achieve atifaction by reiting atifaction: "If the drive may be atified without attaining what, from the point of view of a biological totalization of function, would be the atifaction of it end of reproduction, it i becaue it i a partial drive, and it aim i imply thi return into circuit." Ibid., ' 1 Ibid., ' Ibid., Ibid., Ibid., 179. Chapter One 25

29 Muically, thi model doe not apply to the conventional language of diatonicim. In a claical phrae only a glimpe of the drive can be caught during the ublimation proce- typically, the cadence. hi i where an analyi of Skryabin' late 'atonal' muic become neceary. Here, different dominant form do indeed orbit the central tonic object (or object); Skryabin replicated drive-baed tructure that are content to maintain their circuitou path. In thi he exemplifie thi 20'h century proce becaue, more o than any other compoer, he i famed for utiliing dominant-baed onoritie in a d eel "d e ell y ' aton al' context. 68 A dicued, the tritone i the indeterminate drive par excellence a it could dicharge it tenion via two path into two tritonally related key. Conidering the tritone' repreion in the 14'h century, it later confinement to the dominant eventh chord i a perfect model of Freud' ublimation; the repreed ha been rerouted to a 'more reaonable' form of articulation. Lacan would term thi meconnaiance, the fundamental mirecognition of the drive' goal by the ubject; the projected toriic chord erve a a miinterpretation of drive energy. One oflacan' commentator,jean-fran;oi Lyotard, call thi form of miinterpretation the dipoitij." For Lyotard, libidinal energy invet itelf in one place at the expene of many other. he exceive energy lying beneath the dipoitifi repreed in favour of the more manageable invetment. Lyotard howed that libidinal pulion exit in exce of their dipoitif- the cathecting apparatu. 69 A dipoitifthen reign autonomouly, ignoring the exceive energie that created it, energie which, though repreed, till exceed the new tructure that repreent (and condene) them falely. he dipoitif which channel their impulion into theoretical dicoure, and will give rie to orgariim of power, are the very one which will harden into the German party, he Bolhevik Party, thee di.rpoitif are of coure 'compromie-formation', they are o many attempt to tabilize the force on the libidinal front he toriic chord therefore act a a dipoitif, the drive beneath are atified through thi exact ame ublimation. And thi i pure deire. eire i the proce by which a demand, made by the drive, i articulated in the Symbolic Order. eire i thu a form of interpretation. Lacan claim: "A it draw to an end, interpretation i directed toward deire, with which, in a certain ene, it i identical. eire, in fact, i interpretation itelf." Many commentator adopt thi view: ee Richard arukin, 'Scriabin and the Superhuman: A Millennia! Eay', in ~(ining FVmia Muically (Princeton Univerity Pre, 1997); V. ernova, Gan11oniia Skriabina (Leningrad: Izd-vo "Muzyka", 1968); George Perle, 'Scriabin' Self "\nalye', M11ic Analyi 3/2 (1984). 69 o cathect, for Freud, mean to emotionally invet. 7o Lyotard, Libidinal Economy, La can, he Four Fundamental Concept of Pychomwlyi.r, 176. Chapter One 26

30 But what of the remainder, the drive- ignored by deire- which are not ublimated? For Lacan, deire i complex becaue it i intenely dialectical. Hi model of deire, baed on Hegel' 'mater-lave dialectic' how how a peron deire to be 'the deire of the other'. 72 In Hegel' model, the mater realie that the more he upend the lave' deire for food, the more value the food gain, becoming tranformed into an object of deire. For Lacan 'deire i alway the deire of the other', meaning that one alway deire what the other deire in attempt to become, oneelf, the object of the other' deire. From thi ame Hegelian dialectic, Lacan alo take the idea that the total deire produced i greater than demand or neceity. La can alo pre-echoe Lyotard when he ay, "... deire i ituated in dependence on demand -which, by being articulated in ignifier, leave a metonymic remainder that run under it, an element that i not indeterminate which i a condition both abolute and inapprehenible, an element eentially lacking, unatified, impoible, micontrued (miconnu), an element that i called deire." 73 Lyotard call thi remainder the tmor, the incidental ign which are given off whenever a emiotic function i articulated. hi tenor i given voice in Skryabin' muic in intance where a trong drive i continued, but a weaker drive exert preure regardle. It how itelf in the final meaure of Etude, Op. 56, no. 4 in which, of the two tritonally linked drive - ~ and G- the P i choen to conclude. he drive on G, which precede the!j in the econd meaure of thi example, exert preure from within the 7 chord, through the ~5 that make both chord ynonymou. Although the drive on P i elected to draw the piece to a cloe (a miconnaijance of the drive energy), the drive on G i till an important libidinal force, which trie in vain to breach the urface: a perpetual tenor. FIGURE 1-12: EUE, OP. 56, NO.4: CONCLUSION And Lacan ugget that the dialectical proce of contant mirepreentation of the ubject' actual need (and it conequent formulation of ignifier and demand) i the tructure of deire. he relationhip between drive and deire then, i a tranition; Lemaire propound that 'intinct' [drive] i 72 Lacan himelf learned of Hegel from the Ruian Kojeve, lecturing at the Ecole Pratiq11e de Ha~~te Etude in Pari from La can, he Four Frmdmnental Concept of Pychoanab i, 154. Chapter One 27

31 miundertood through the Symbolic Order and interpreted a a ymbol, leading to the realm of deire. 74 Fink ay, "the drive take the object with it eparating from the Other a deire". 75 FIGURE 1-13: L\GRAJ\-I OF SEPARAION OF RIVE AN ESIRE In Lacan' diagram, the Real (a form of what Lacan tenn the oijet petit a) i indicated by the 'a'within the drive' circle. eire i an illuionary repreentation of the drive that loe connection to the Real (the material human body where the drive originate). hu deire i baed on pure illuion, pure phanta.ry: "the impule [drive] i atified eentially by hallucination." 76 "Phantay i the upport of deire"; "the object of deire, in the uual ene, i... a phantay that i in reality the upport of deire, or a lure." 77 hi could explain omething of how the drive operate within a claical diatonic phrae. he tritone, with all of it power, i aroued and immediately 'oedipalied'; it i placed within the triangular tructure of the tonic, ubdominant and dominant and it poition i intandy articulated and confirmed through it dominant~ tonic dicharge. 78 In thi example, an early Mazurka in F# major, a C# 7 chord i initiated in the firt meaure- the E#/B tritone arie on the econd beat of the meaure and in m. 2 i dicharged immediately onto an F# triad. Yet depite thi linear proce, the tenor lurk beneath. he pitche Band Fin m. 3 now move unconventionally to an E 7 chord. Allegretto non tanto o,.a Nr. :l FIGURE 1-14: ~\ZURKA, Or. 3, NO.2 74.Anika.Lemaire,Jacque Laca11 (London: Routledge &.Kegan Paul, 1977), 165. Lemaire ue the term 'in6nct' where other commentator would ue the word 'drive', doubtle due to the tranlation problem which I have outlined. 75 Fink, A Clinical Introdudion to Lacrmian Prychoanalyi: heory and echnique, (' Lacan, he Fo11r Fundammtal Concept of Prychoanalyi, 154. n Ibid., he neologim 'Oedipalied' i ued by e leuze to decribe a child' reolution of the Oedipu complex. 28 Chapter One

32 Heteronymity: Skryabin' Mytic Chord and Kriteva' chora o explore fully the function of drive in Skryabin' muic I appeal to a more recent commentator, Julia Kriteva. Kriteva' model maintain thi progreion from drive to deire, which then bar the drive from the ubject: More preciely and concretely thi ubject' deire i founded on drive ("the pychoomatic articulation" [chamiere]) that remain unatified, no matter what phantamatic identification deire may lead to becaue, unlike deire, drive "divide the ubject from deire". eire' bai in drive will be dimied and forgotten o that attention may be focued on deire itelf. 79 An important advocate of Lacanian pychoanalyi, Kriteva examine the integration of drive into deire tructure. But Kriteva' greatet contribution i the formulation of drive operation within the pre-ymbolic realm, in what he term the chora. he chora, a term borrowed from Plato and meaning 'receptacle', i the realm in which drive proliferate around the maternal body. And crucially for u, thee drive are heteroi!jmou: "rive involve pre-oedipal emiotic function and energy dicharge that connect and orientate the body to the mother. We mut emphaie that drive are alway already ambiguou, imultaneouly aimilating and detructive". 8 Kriteva "i careful to point out that her interet with regard to the Freudian theory of drive lie not in their 'fundamental dichotomy... '... but in their heteronomy." 81 he drive are part of one heteronymou whole: they exit a ambiguou imultaneitie, occupying a hared poition. Furthermore, a in the Lacanian tradition, the drive do not progre organically between each other; they are not part of a teleological chain; they hare only topological community. Zizek' uggetion that dritje i mono-directional and deire i multi-directional i dimantled to yield the very oppoite paradigm: drive are multidirectional, converging on a ingle point of deire a a 'compromie formation'. In the chora, Kriteva, perhap clearer than her predeceor, poit drive a patial pluralitie, a ynchronic ma, become eparated only in becoming diachronic, a proce by which they loe connection to the Real. A muical corollary to thi can be indicated through a freh look at Skryabin' mot publicied onority -the mytic chord, often termed the Promethm chord or imply the Skryabin chord. Brought to light after it ue in Prometheu, it urface in mot of Skryabin' late miniature. Like Wagner' ritan chord or Stravinky' Petmchka chord, thi enigmatic onority attract great analytical crutiny, yielding countle interpretation. It i variouly decribed a a peudo-octatonic complex,x" a dominant tructure, 83 or a 7 ' 1 Julia Kriteva, Revolution in Poetic Language (New York: Columbia Univerity Pre, 1984), Ibid., John Lechte and Maria rvlargaroni,ju/ia Kriteva: Uve heory (London; New York: Continuum, 2004), Perle, 'Scriabin' Self Analye'. 83 Sabbagh, he evelopment of Harmony ins etiabin' Work.!, 30. Chapter One 29

33 hybrid of whole-tone and octatonic material, 8 ~ to name only the principal explanation. Skryabin' own analyi wa hardly illuminating; he claimed, "thi i not a dominant chord but a baic chord". 8 ; It i important that thi additional analyi mut not be regarded a an end in-itelf; the chord i viewed a a mere dipoitif, 'latched onto' by Skryabin' earliet commentator, exiting only a a 'compromieformation' that block acce to a detailed tudy of the intricate harmonic principle which the chord merely exemplifie. hi analyi provide a bai for a much freer examination of Skryabin' wider harmonic practice; in dimantling the chord I embrace a more expanive harmonic univere in which 'polytonal' drive threaten to pull vertical egment of the chord in variou temporal direction imultaneouly. hi i preciely how K.riteva view the human ubject' unconciou drive mechanim, a heteronymou drive within the chora. he chord complex can be undertood a a 'polytonal' network containing at leat two dominant eventh tructure, embodying drive in divergent key. Reviewing it mot conventional manifetation -with C a the fundamental ba- two accidental are featured - F# and B~. FIG 1-15: HE MYSIC CHOR hee pitche are tonally uggetive, reaching out of C major into it dominant and ubdominant region. 86 Along a line if fifth they preent the firt potential deviation from the major cale: F# I B - E - A - - G - c - F I B~ FIG 1-16: HE POI-IALEJ\N MOE A recent article by Ann McNamee examine 'bitonality' in Szymanowki' Op. 50 Mazurka, revealing the Podhalean-mode- a Polih folk-cale compriing identical pitche to the mytic chord- a modified C cale (C--E-F#-G-A-B~). 87 McNamee demontrate that Szymanowki' 'bitonal' muic i contructed around the potential for cycle of fifth contained within thi cale, commenting how "it i remarkable ~Jay Reie, 'Late Skriabin: Some Principle Behind the Style', 19th Centmy Mmic 6/3 (1983), Sabbagh; he evelopment ofha17110i!j in Se~iabin! Work, avid emperley, 'he Line of Fifth', 1VIuic Anab i 19/3 (2000). emperley' article allow for an infinite chain of fifth which are enharmonically ordered a a line rather than the more traditional circle. Given Skryabin' late tyle of complex enharmonic orthography which move into very remote enharmonic region, the line perhap bet characterie Skryabin' approach rather than the circle. See Perle, 'Scriabin' Self Analye'. 87 Ann McNamee, 'Bitonality: Mode and Interval in the Muic of K1.rol Szymanowki', Joumal of Muic heory 29 (1985). Chapter One 30

34 that neither pitch erve to tabilize the tonic; rather, harmonic upport hift to V and IV". 88 hi afford a refrehingly conervative environment in which to analye Skryabin' muic amid the climate of analytical focu on the whole-tone and octatonic collection in hi 'atonal' muic. Skryabin' chord, which omit ome of thee Podhalean note, i poied between two dominant eventh tructure that reach toward the ubdominant and the dominant via a C 7 chord Oeading to an F triad) and a 7 chord (leading to a G triad). ~!,: II.~ ~ II,~ ~ II Prometbm Cbord V7 I V7 I C Root G major F major FIG 1-17: BREAKOWN OF HE MYSIC (PROMEHEUS) CHOR hi inner tenion certainly crave dualit interpretation. Particularly appoite then i aniel Harrion' Neo-Riemannian functional outlook, where the dominant and the ubdominant are viewed a bifurcation of the tonic function, which will be relevant to Chapter I ue the term 'drive' to decribe thee cont1icting dominant eventh tructure becaue thee mall unit, full of potential, are divorced from Claical or Romantic tyle. And becaue they conflict imultaneouly one cannot build up the expectation of (and deire for) a ingle tonal object- a tonic key-, rather, they heteronymouly reach in variou direction. And thi i the difference between Skryabin and hi immediate predeceor. Wagner' epic meditation on the nature of deire- ritan and Iolde- contain chord which piral around the tonic, contantly pointing to but forever avoiding it hi i eentially a temporal proce, a celebration of Anthony Newcomb' "wandering tonalityrecitative ecco" tyle, experienced a linear detour. 90 Subcribing to the popular view of the ritan chord a a FrendJ Sixth, accented through appoggiatura, the opening bar of ritan indicate a tonic of 88 Ibid., 64. Szymanowki wa certainly influenced by Skryabin (particularly hi early work). See owne' comment that "Szymanowki ued to pore over the detail of the piano writing in Scriabin' early piano work and the imilaritie between the two compoer extend to large-cale tructural iue which reflect important heroic-mythological topic" (Stephen owne, Szymanowki, Eroticim and the Voice qflv!jthology (Ahgate: IUvL-\, 2003), 23). Alo ee Jim Samon' comparion, reinforcing imilaritie between the early etude of the two compoer: Jim Samon, he lvf11ic o/ S:ryman01vki (London: Kahn & Averill, 1980), 29. Samon alo dicue the Podhalean mode in relation to Szymanowki' 'Stabat Mater' (203). Interetingly enough, arati compare later Szymanowki to later Skryabin, citing the econd movement of Mythe: Eero arati, 1Vf) th a11d Muic: A Semiotic Apptvach to the Aethetic o/ Myth in Muic, Epecially hat o/ Wagnet; Sibeli11 and Stnminky (Mouton, 1979). owne himelf dicue thi piece' relationhip with pychoanalyi- it tide being Narcim, Stephen owne, 'Szymanowki and Narciim', ]o11mal o/ the Royal M11ica/ Aociation121 /1 (1996). he piece doe in fact open with ~reordered mytic chord thjit out).iqe the pitche A, B,. #, G, C#, Fd. 89 aniel Harrion, 'Bitonality, Pentatonicim, and iatonicim in a Work by lvlilhaud', in l\<f11ic heoij' in Concept a11d Practice, ed. Jame Baker (Rocheter, NY: Univerity of Rocheter Pre, 1997); Harrion, Hm711onic F11mtion i11 Chromati.- Mmir: A Remwed 11alit heory and a11 Acco/lnt o/ It Prrcedent. 90 Anthony Newcomb, 'he Birth of Muic out of the Spirit of rama: An Eay in Wagnerian Formal Analyi', 19th Cmtllry Mmic 5/1 (1981), 50. Chapter One 31

35 A. 91 hi i equentially tated in a tring of different key; and tlu i how deire i mapped in the work, perpetually rerouting the drive through different ignifier. Whilt key - a object - change, the deiring proce remain. In Skryabin' harmonic motion however, multiple potential drive exert force by pulating imultaneouly. hu drive are a form of polytonality. hi i a characteritically Ruian, both in compoitional technique and analytical methodology. One naturally remember Stravinky' Petruchka Chord, originally interpreted a bitonal through imultaneou articulation of C and F~ triad. hi view i refuted by Arthur Berger who ubumed the two triad within the octatonic cale (collection III). 92 epite the term polytonality' chequered hitory (which will be explored in Chapter 3), it appear in numerou guie in Soviet analyi, particularly in the writing of three commentator relevant to thi analyi. Bolelav Yavorky- Skryabin' earliet analyt- conceived of 'dual modality', a theory that wa adapted in the 1960 by Varvara ernova; 93 Viktor Belyayev alo offered a recent nco-riemannian functional analyi of he Poem rifecta.ry often applying the, Sand function imultaneouly. But to claim that Skryabin' late onoritie are ambiguou and chaotic i nlileading. epite their preymbolic ambivalence, the chora' drive are certainly 'ordered' for Kriteva: the chora i neverthele ubject to a regulating proce [reglementation], which i different from that of ymbolic law but neverthele effectuate dicontinuitie by temporarily articulating them and then tarting over, again and again. 94 And the mother' body that increaingly order the dtive in Kriteva' ytem activate tlu 'regulating proce' through the oppoition of drive activity and tai. []he drive, which are 'energy' charge a well a 'pychical' mark, articulate what we call a chora: a nonexpreive totality formed by the drive and their tae in a motility that i a full of movement a it i regulated." 95 Kriteva call the chora the realm of the 'enliotic' which i akin to the Lacanian 'Real', a oppoed to the 'Symbolic Order', which Kriteva imply term the 'ymbolic'. Kriteva take pain to how that the chora i not a 'poition' that can be repreented. Although the chora can be deignated and regulated, it can never be definitely poited: a a reult, one can ituate the chora and, if neceary lend it a topology, but one can never give it axiomatic form hi i a particularly Anglo-American interpretation held by Piton (1970) and Goldman (1965), a dicued by Natticz: Jean-Jacque Nattiez, 'he Concept of Plot and Seriation Proce in Muic Analyi', Mmic Anafyi 4/1/2 (1985), '! 2 "-\rthur Berger, 'Problem of Pitch Organization in Stravinky', Perpective of New J'vfuic 2/1 (1963). 93 ernova, Gar7!1oniia Skriabina; B. M. Belyayev, Muorgkii, Skryabin, Stravinkii (i\'iokva: lzdatel'tvo "Muzyka", 1972). 94 Kriteva, Revolution in Poetic Language, Ibid., 25. Chapter One 32

36 Baed on Englih pychologit Winnicott' concept of 'tranitional pace', the chora i alway an impoible poition becaue it dialectically mediate the 'emiotic' and 'ymbolic'. 97 hi i achieved through the tbetic phae where the ubject' ego emerge a it enter ymboliation. here are two fundamental drive which orientate the ubject in Kriteva' model: the life-drive and the death-drive: Freud' Ero and hanato. hee two drive conflict in the thora; the life drive move toward the thetic phae, deire, and ymboliation, whilt the death drive aggreively demand drive tai. Here Skryabin' muic become crucial. In Skryabin' late harmonic language, our attention i focued on thee drive. In Skryabin' lat compoition the drive proliferate and refue ublimation; he depict the chora itelf- a an impoible poition. Nonethele, a K.riteva how, the drive are regulated between the emiotic and the!jmbolic realm. In order to illutrate the incription of thi principle in muical material, I now examine how the mytic chord, a a harmony, can unfold it drive element in a temporal frame. Returning to Skryabin' late Poem, Op. 71, no. 2- hown in figurel-18- the following graph of the opening mea~re ketche the mot alient drive in oia above and below the actual pitch graph. ~~ G A G B~ ~ ~ ~.. n- ~& _ '----' _...-.._, ~G fi, c: ( ~- I 2 3 ~ -... flfl - ~- q--- >I ~ t) " - - " - - : I" ,- '--- ~ _[)_ ~ \ \ \ \ _... _...,_,... --, :I:: :or:...-, F G F c FIGURE 1-18: POENii\I~ RIVE ISCHARGES IN POErvi, 0P. 71, NO.2, l'v!m Ibid., I ue the term 'mediate' but it mut be undertood that there i debate about whether the 'motility' between the two realm in Kriteva' model i a 'dialectic' a he claim; ome ee Kriteva' paradigm a a imple duality. Maria Margaroni give a comprehenive decription of variou viewpoint; ee Lechte and Margaroni, ]11/ia Kriteva: Live heory, 15. Winnicott i dicued in correpondence between Kriteva and Catherine Clement: Julia Kriteva & Catherine Clement, he Feminine and the Sacred (Baingtoke: Palgrave, 2001), 38. Chapter One 33

37 hi undercore the potential cadential dicharge that the drive imply - the potential drive are graphically eparated from the whole onority. In the opening meaure the mytic chord i turned 'upide down'- the 7 lurk in the lower region rather than the upper. hu a drive toward G i hown in the upper tave and a drive toward F in the lower. he following meaure depart from the mytic onority itelf, widening the field in three direction: A, C# and G. he tritone relationhip between G and C# indicated here enjoy prominence a the piece unfold. My interpretation of the mytic chord a a compound of dominant eventh drive i upported in m. 4 where the C 7 and 7 implication come to fruition a Skryabin initiate imultaneou F 7 and a G 7 chord. hi follow a 'drive-exchange' analogou to the Schenkerian 'voice-exchange' in m. 3, a illutrated: c7 7 ~ G7 >< 7 c7 ~ p7 FIGURE 1-19: BIONAL VOICE-EXCHANGE & OUBLE CAENCE hee new chord are dominant in themelve and extend the tonal boundary further to C and Bl>. he drive are articulated temporally through phrae like thi, in which emphai contandy hift. Each drive move one 'notch' along the fifth cycle before returning to it origin. hu they enter the 'thetic phae' with motility between a 'emiotic' realm of drive and their 'ymbolic' retranlation a egment of a yntactical 'fifth' chain. What happen next in thi piece become rather complex, and in order to prepare u to follow the fortune of thee drive in uch a late piece require field-work in an earlier piece where Skryabin plot a typical move from what I would call a 'drive-baed' economy toward a 'deire-baed' economy a an act of ublimation. Sublimation veru Libidinal Intenity: Examination of the Middle to Late tranition- Poem, Op. 71, no. 2 and Etude, Op. 56, no. 4 I turn now to invetigate two way in which drive can be ordered; thee two trend correpond to two complete Skryabin piece from 1908 and In Etude, Op. 56, no. 4 the drive are contained by a narrative framework that tranform them from extreme proliferation and tonal diffuion into pure " triadictructure ahd tonal clarity. hi trajectory i hardly novel; Skryabin' earliet Cbopimqm prelude tend to open 'off centre' in indefinite or unrelated key. At the very leat they begin with the dominant chord a in Prelude, Op. 11, no. 5 (fig.1-7); cadence point are uually incompletely indicated Chapter One 34

38 at phrae ending or deferred until the cloing geture. he kind of developmental progre implied by the increaed clarification which cadence afford i often more aociated with Skryabin' developing melodie, which have programmatic overtone for ome commentator: Herbert Antcliffe find in Prometheu, Op. 60 that, "the muic become clearer with a 'contemplative' melody and a little later a joyou figure which ugget the firt full concioune of life." 98 hi ame clarification proce find it way into Skryabin' harmony, howing that the late po!jtonal drive-baed earch for a ingle tonal centre follow hi early cheme. - 5.II tl - 11.~ ~~ :I!C'; r11",... -if 14 h ~ - ~ ~ II 98 Herbert Antcliffe, 'he Significance of Scriabin', he Mu.rica! Q11arlerb' 10/3 (1924), 343. Chapter One 35

39 17 _ll....-c.,.-...,. Ill- - fl p Ill.. ~~,.,.!>1:: ~ ' 20 fl ~~~..-_ - ~ -- Ill I'W' b ~.. 23 fl - A- Ill ~ tj!4 I' b. _.-..._, ~ I~; - ~ crec. -~i - - ~ I' ~ 26 FIGURE 1-20: EUE, OP. 56, NO.4 Before examining the piece' polytonal drive, let u take a brief naphot of the ba tmcture, plotting it on a Riemannian onnctz- a patio-temporal framework that chart the tonal pace that Skryabin navigate. It mut be noted that thi ba tructure underpin clear dominant drive in each cae. Riemann' onnetz prove particularly pertinent to Skryabin' muic a it facilitate navigation through minor third and tritone relation (diagonally riing axi- right to left), major third (diagonal axi -left to right) a well a perfect fifth (mnning purely horizontally on the onnet:\) he onmtz i ued here merely to plot the ba tructure. avid Lewin' method of analying tonal tranformation uing the onnetz i very different and will be more relevant to our later dicuion of the enths onala in a later chapter. Chapter One 36

40 FIGURE 1-21: EUE, OP. 56, NO.4, MM. 1-9 (navigation begin on the pitch F, coloured black; number lead a path through repeated drive) he piece initially forge a minor third path between F and G~, outlining a diminihed eventh chord. he pitch, which i the lat note of thi outline, bridge the other ide of the onnetz, opening tonal pace to a peudo-perfect cadence on G. A the G i initiated, Skryabin play with a tritone-related f,, toggling between the two chord before travering the horizontal line of fifth to C - a pure chord, heard in firt inverion in m. 8. After tranpoed material, Skryabin recapitulate the opening at m. 13, hown in fig FIGURE 1-22: EUE, OP. 56, NO.4, MM. 13 FF A Skryabin alight upon the G, thi time, rather than continue along the fifth axi to C, he lip toward f, and offer a clear line of fifth on the f,' axi, reaching back to an Ef, before rebuilding a path to GP a the piece conclude. hroughout the piece Skryabin play with diatonic V-1 geture at phrae-end, uing them to demarcate ection; uch geture become increaingly protracted, leading to the concluding perfect cadence. he on11etz ha provided a imple background model, highlighting Skryabin' large-cale ba manoeuvre from fragmented tritone motion toward 'ublimated' perfect fifth motion along the chain of fifth: In thi piece then, evanecent moment of ublimation pull drive back and forth between a 'emiotic' world of drive and a 'ymbolic' world of deire. hi phae i known to advocate of Kriteva a the thetic break, when a concioune experience motility Chapter One 37

41 between the two world, moving toward full emerion in the Symbolic Order that increaingly take hold. Now, tightening focu around individual drive, I explore how thi tonal plan communicate with the many drive on the muical urface. he mytic chord feature in m. 1, but mm. 2-3 expoe it innate bitonal drive more clearly. Here, the claic mytic tructure that opened Poem, Op. 71, no. 2 i replete with clear cadencing. he tritone - E/B~ - reolve conventionally to pitche F and A in the upper teitura, forming a peudo-cadence in F. Yet the lower part outline a dominant eventh on progreing to a G, a hown on fig hu dominant -7 tonic dicharge erupt in two key, eparated by a whole-tone interval. lu cadence lay the foundation for an exploration of Skryabin' polytonal drive, but now we mut dig deeper and explore the drive which proliferate in the core, but are not ublimated in uch a faluon. Fig plot thee drive in a map of the piece. he dark quare on the grid denote drive that I believe operate, whilt the light quare repreent the potential tonic reolution they could imply. he graph read from left to right like a muical core; meaure number are indicated above the graph to how the paage of time along the x-axi, whilt tonal centre are charted a a line of fifth on theyaxt. G# C# F# B E A G c F m El> A~ m G~ FIGURE 1-23: EUE, OP. 56, NO. 4-!tiVE ANALYSIS hi diagram erve variou ue and will be extended and developed in following chapter. Here it elucidate one of Skryabin' mot crucial procedure: the emergence and ublimation of a tenion Chapter One 38

42 between whole-tone bitonality and tritone bitonality. Further, thi dichotomy reinforce the ublimation of diverity into clarity (drive to deire) that wa revealed in the crude ba diagram. In m. 1 the initial mytic chord indicate the key of C and B~ (implied by G 7 and F 7 drive). 100 Skryabin immediately huttle to the F' tritone relative- B 7 - and the G' whole-tone partner- A 7 - indicating the key of E and. Already an intimate relationhip bloom between tritonal and whole-tonal drive. One eential connection i the hared tritone between the two chord of F 7 (A-E~) and B 7 (A #). hee flrt two chord expoe the link before whole-tone drive pair alternate with tritone pair in m. 2; the enharmonically repelled 7 and Gf indicate the tritonally related key of G and C#. hi dichotomy become clearet in mm. 3-8 when polaritie intenify between G 7 and ~ 7 in mm. 3-5 and between G 7 and F 7 in mm. S-8. he G 7 element become the flxed point around which it whole-tone and tritonal drive rotate, it prominence confirmed in a perfect cadence in C major in m. 8, the firt pure triad. Skryabin ha haped multifariou drive toward a peciflc object of tonal deire; the tronget drive ha ucceeded over the weaker one- it i ublimated. And yet the drive urrounding thi G- the 'repreed' drive -are not forgotten; their energy continue to pulate beneath the urface. In the econd half of the piece a new G and ~ drama i enacted. Scanning ahead to the flnal meaure, a peudo-cadence in G~ i poitioned with the ~ 7 imultaneouly preerved. hi chord embodie the outcome of the drive conflict: the preence of chord V with chord I ynchronically betray a prolongation of deire, which i retained through the moment the dicharge. Skryabin' climax-building technique alo prove analytically rewarding. he chord of G became a focal point from m. 3 a fig.1-21 expoed. Incidentally, thi i emphaied by an extended onnetz embracing mm. 1-13, where G become a hive of activity, the drive ha three entry point. 100 I interpret the opening thu, depite the lack of the pitch G becaue the chord in fact behave a an 'upide down' mytic chord on G rather than F; we find thi chord in it more 'authentic' poition in m. 4. A G 7 drive i alo preent throughout much of the opening phrae. Chapter One 39

43 . FIGURE 1-24: EUE, Or. 56, NO. 4, MM (beginning on F; ending on G) Additionally, the G briefly moved to!j for no apparent reaon, before continuing in fifth to C, leaving the!j alienated. In the recapitulation at m. 13, the G-P manoeuvre now become ignificant when the!j i recontituted a a olid link in an extended chain of fifth. On the drive diagram (fig.1-23) an attractive pattern emerge: a cycle of fifth move ymmetrically in contrary motion. he E!J in the ba move Al1 ~ l1 ~ Gl1 whilt weaker drive in the upper voice move E11 ~ BP ~ F. If it continued it trajectory, the upper voice would have met the Gl1 chord with a C chord- it tritone relation. But intead, Skryabin end with a perfect cadence in Gl1. A in pychoanalytical model, drive motion function imultaneouly though they break apart and loe their heteronymity a they become ublimated. In ummary then, Skryabin ha haped primitive drive mechanim into a teleological dicoure in which the litener focue on (and deire) a pecific key through a chain of fifth. hi piece wa compoed in 1908 when Skryabin' muic mapped attempt to evolve and hape divere drive-baed chromatic muic toward ever-developing deire-baed tonal clarity. Careful examination of Skryabin' writing in later chapter will crytallie thi pychoanalytic interpretation. Looking forward to Poem, Op. 71, no. 2 how how Skryabin' late tyle embraced the oppoite aethetic. A drive-baed form of tenile motion i etablihed but, rather than ublimate it into a deire-baed mechanim baed on a tonic chord, Skryabin increaed the drive' authority, and he never attempt to breach it intricate network. Kriteva howed that drive tentatively dicharge a thetic motility between the 'emiotic' and 'ymbolic' (drive and deire) but Skryabin never attempt thi thetic break. Chapter O ne 40

44 En revant, avec une grande douceur ~-~2 ~~-1~.----~~J~d---~~---q~ ~ crec. avec enthouiame ~~~~J.~~ 12 ~= = F IGU RE 1-25: POEM, Or. 71, NO. 2, MM. 1-18, ~ Chapter O ne 41

45 Relative tability, created by bitonal cadencing in the opening meaure of Op. 71, no. 2, i hattered by the intene profuion of polytonal drive reaching out to variou tonal region. A curory look at a onnetz charting the ba motion reveal that Skryabin excluively articulate a diminihed chord- F,, B, G#- precluding deire-baed 'fifth' motion ~ v0 FIGURE 1-26: POEM, OP. 71, NO.2- BASS IAGRAM o appreciate Skryabin' careful control of drive energy, a more pecific diagram i required. Fig reveal an almot total aturation of drive energy at it mid-point (from which the remainder of the piece i a t6 tranpoition), where the divere drive that feature in the piece return in mm. 16 to 18. G# C# F# B E A G c F m E~ II r\~ m m ~~-+--+-~~--~ t--t---t--t--t----cl--t-- FIGURE 1-27: POEM, 0P. 72, NO. 1, RJVEANALYSIS Chapter One 42

46 he reaon that Kriteva' work i o relevant to thi analyi i that her chora i a tructure which i repreed but which remain active beneath the 'text', occaionally breaking through the ymbolic urface to remind u of what lie beneath. hi find numerou philoophical expreion: Freud would call it 'the return of the repreed'; La can- 'the return of he Real'; Adorno - 'urchbruch'. 101 Of coure imilar procedure urface in the earlier, Op. 56 Etude; there i the ame alternation of whole-tone and tritonal drive, there i the ame vertical exploitation of the hared tritone of two dominant eventh; there are imilar chord complexe and bitonal dicharge early in the piece. But what i miing i an underlying teleological diatonic motion toward a ingle object of deire. And thi i univerally true of Skryabin' late piece; Skryabin remove the drive from dialectical deire formation, allowing them to form a chora-like tate, regulated through alternation of tai and motion that would attempt to project the litening ubject into the 'Symbolic Order' of tonal grammar. Yet Skryabin doe not allow thi journey to be made. Skryabin' Philoophy of rive and eire A upplement to Skryabin' direct muical confrontation with 'the drive', there i a wealth of account of it activitie in hi writing, howing that uch muical procee are far from accidental. Skryabin' claim to be a philoopher a well a a compoer wa undoubtedly pretentiou, neverthele, hi diarie reveal a ound comprehenion of the philoophical literature, inviting and confirming pychological reading of hi muical material. One entry declare, "Mot of my muical poem have a pecific pychological content, but not all of them need programme note." 102 See alo Skryabin' proud boat that hi hird Symphony wa the firt expoition of hi 'new doctrine'. 103 Although Skryabin wa Freud' contemporary, there i no record that he acceed Freud' theorie directly. 104 But paraphrae of experimental pychologit Wilhelm Wundt in Skryabin' notebook certainly attet to hi general Hit trchbmch generally tranlate a 'breakthrough', which Michael Spitzer define a "an influx of reality"; Michael Spitzer, Muic a Philoopf?y: Adorno and Beethovm' Late Style (Bloomington, Indiana: Indiana Univerity Pre, 2006), Faubion Bower, he Nezv Scriabin: Enigma and Anwer (London: avid & Charle, 1974), In a letter to Margarita Morozova, dated 20th March 1905, Skryabin referred to "the firt public proclamation of my new doctrine". Bower, S criabin: A Biograpl!J 2, Freud became eriouly recognied in Ruia through r. Nikolai Oipov who wrote the firt expoe of Freud' work in But Freud wa certainly read before thi. Hi lntnpretation of rram wa tranlated a early a By 1909 Oipov and hi colleague N.A.Vryuobov worked on a new journal "Pychotherapy" and et to work publihing a Ruian 'Pychotherapeutic Library' containing up-to-date tranlation of Freud; including tranlation of hi Lecture and hree ESC!.J'S on Sexuality. hrough the labour of thee men, Ruian became the firt tranlated language of Freud' collected work. Ruian uch a L. rone, S. Spelrein, M. \Volff and. Roenthal were known to have attended Freud' pychological meeting at hi home in Vienna. By 1910, a group wa conceived which wa explicitly modelled Freud' Viennee circle. Martin A. Miller, Fre11d and the Bolhevik: PS) choana!ji in Imperial &tia and the Soviet Union (New Haven: Yale Univerity Pre, 1998), Chapter One 43

47 interet in pychology. 105 But in an idioyncratic way, Skryabin yntheied pychoanalytical terminology with mytical comology into a 'world hitory'. he reult wa a kind of Panp!Jchim: he univeral concioune in a tate of activity appear a a peronality, one enormou organim which at any moment experience a new tage of proce called evolution. (At thi bai lie the deire for abolute bli. Life i an urge.) 106 he univere i an unconciou proce. Part of it i accepted by me a an illumination of my. 107 conc10une. eferring a thorough treatment of thi concept until Chapter 6, I focu here on Skryabin' terminology. Hi writing contain decription of quantitie of 'tenion' that are eentially 'drive' under different name. For intance, he talk of 'palpitation' and 'urge' that motivate the world: I begin my tory. It i the tory of the world- of the univere. I am, and there i nothing outide of me. I am nothing. I am all. I am one, and within me i multiplicity. I wih to live. I am life' palpitation. I am deire. I am a dream... eire in me are vague, and dream dim. I do not yet know how to create you. I only know that I wih [deire] to create. I create already. he deire to create i creation... Life i activity, triving, truggle... Oh life. Oh creative urge. Oh ll. d. 108 a -creattng etre. From a Freudian tandpoint, the word 'deire' would be better rendered a 'drive', but thi pychoanalytic ditinction did not exit. Faubion Bower, Skryabin' mot thorough biographer, comment crucially that one could "tranlate Skryabin' word 'wih' and 'deire' into 'drive"'. 109 Skryabin wa left to hi own device to make thi difference undertood. A cloe reading of Skryabin' nomenclature clarifie that Skryabin focue on material 'drive' energy rather than Lacanian dialectical 'deire'. He variouly decribe 'drive' procee a a 'urge' or 'urge' ("Oh life, Oh creative Surge (wih [deire])! /All-creating urge"), 110 a a 'pulation' ("Something began to glimmer and pulate and thi omething wa one"), 111 a 'energy' ("abolute unity... will to live, deire to live, deire for the other, the new, ENERGY")/ 1 ~ or a 'impule' ("An impule diturb celetial harmony"). 113 Like Freud, Skryabin drew on Schopenhauer' Wi/1 114 ("he Spirit... create it own World by it own creative Will") Even a early a 1904, Skryabin' wife Vera record "Saha read a lot of philoophy and pychology and think all the while of hi future compoition." Bower, Scriabin: A Biograpry 2, Ibid., Ibid. 108 Ibid., 54. In the Ruian language, the word 'deire' and 'wih' are identical: Zhe!m!Jie. Although it ha not been poible to acertain at thi tage which word Skryabin ue in each of Bower' tranlation, Skryabin certainly ue Zhelm!Jie in hi wider writing. See Mitchell Bryan Morri, Mmica! Eroticim and the rancmdent Strain: he Work of Alexander S kryabin, (Ph Berkeley: Univerity of California, 1998), n Bower, Scriabin: A Biograpry 2, Ibid., 62. Ill Ibid., Ibid., Ibid., Gupta how that Freud, whilt ignorant of Schopenhauer' idea at firt, eventually found imilaritie between the U7orld a IPi/1 and Idea and hi own drive theory: R. K. Gupta, 'Freud and Schopenhauer', Jouma! of the HiiO!)' of Idea 36/4 (1975). Chapter One 44

48 Following Schopenhauer' example, Skryabin tranform the Kantian thing i11 ite!finto a mobile motivating force: Being a a whole wihe [deire] to be... Being i the will to live Being i not omething eparate from the deire for life. It i the very ame deire but objectified. Wih [deire] i the inner apect of being. he nature of life (action) i the deire for the other, the one, and nothing ele. he conequence of deiring (experience) create time. Action i the urge or lift of life. Surge (activity) in the highet degree i ectay. Abolute being i ectay... Ectay i the highet riing of activity. 117 Here we alo find the Lacanian concept ofjouiance that Skryabin term 'ectay'. In Lacan, uch jouiance erupt when the drive hort-circuit deire and releae it energy. Of coure thi i the goalthe blazing tonic chord - that Skryabin planned for many work, a will be examined in Chapter 5. Like Lacan, Skryabin wa clear that true deire exited only in dialectical relation to other deire: When I have no deire, I am nothing; but when I experience a deire, I become the ubtance of my own yearning. he individual longing give rie to all other yearning, becaue it can exit only in relation to my other deire. 118 And forehadowing Lacan' inight that deire "merely eek to go on deiring", the youthful Skryabin of 1892 graped that deire wa elf-perpetuating from hi reading of Schopenhauer, who homa Mann called "the father of modern pychology", and whoe entire ytem i baed on the gulf between "the reaon and the intinct": 119 Sharp deire, voluptuou and crazed yet weet I Endlely with no other goal than longing [my italic] I I would deire. 120 See imilar comment on the endle cycle of deire in ebuy' writing: "You could write a formula for deire: everything come from it and return to it." 121 Crucially, Skryabin focued on the freedom of the drive' expreion, revealing an acceptance that, in the world of Mqya or repreentation, truth i ultimately impoible to reach: "If the world i my unique and free act then what i truth?... ruth and freedom are mutually excluive." 122 hi i to ay that Skryabin wa, in the final analyi, a olipitic 115 Faubion Bower, Scriabin: A Biogmpi!J 1 (New York: over Publication, 1996), Bower, Scriabin: A Biograpl!J 2, Bower, be NewS ctiabin: Enigma and Anwer, MSchloezer, Scriabin: Arlit and Lvfytic, Fink, A Clinicallniroductioltlo La/aitian PrycbMnafyi: beoij' and echnique, 51; homa Mann, homa Mann Pre.rml the uving hought of Schopenhamr (London: Cael, 1939), Bower, Striabin: A Biogmpi!J 2, Katherine Bergeron, J\1lliande' Hair, in Mary Ann Smart, Sin:n SOI!g!.' Repreentation of Gender and Sex71a/ity in Opera (Princeton: Princeton Univerity Pre, 2000), Schloezer, Scriabin: Arlit and!vfytic,!26. Chapter One 45

49 Idealit. Intead of earching for the ing an icb, he focued on the infinity of poibility. he phrae "ivine Play" urge up again and again in Skryabin' notebook, acribed to the creative freedom of the 'Real', much a in the late writing oflacan: "hen all i play- it i a game... And thi play i the highet of real realitie." 123 Skryabin often ue the word 'real', a Lacan doe, to denote the preternatural world, before the birth of concioune. "hu the world i given me a a real, in the ideal ene of the word, unity." 124 And thi freedom of the will i what Skryabin achieve in hi muic, a perceived by one of hi earliet commentator - the Symbolit poet Vyachelav Ivanov- whoe eay Skryabin ' viejv of Art claim: he [Skryabin] muically re-created the movement of the will, the firt timid trembling and ectatic delight of celetial pirit bathing in the univeral expane. 1 ~ 5 Skryabin' harmonic tructure bear thi ideology. Piece uch a Etude, Op. 56, no. 4 employ ditinct drive formation, which ublimate and bloom a the muic unfold. But in Skryabin' later piece drive activity overload the election proce of deire. In fact even in Skryabin' earlier work, the tonic i often ued to end piece a an almot arbitrary mechanim for curtailing the drive tenion, often without a carefully unfolded ublimation proce. Among the mot extreme intance i the luminecent F~ major chord that conclude Prometheu, Op. 60. hi grandioe apotheoi i a 'fale' ending that cannot atify the drive that rage beneath the urface, a I further examine in Chapter 7. he ame i true in Etude, Op. 56, where numerou drive are ublimated at certain juncture, but only one i elected for concluion. But Skryabin, in hi late tyle, prefer to leave the drive conflict open. Each drive expree itelf a freely at the end of the piece a at the beginning. hu the final moment of Poem, Op. 71, no. 2 contain identical drive to the opening, though in a differently paced chordal onority:!l ~;.,. t). ~~ ~~~. - p- 5 -"""'"' '"--- FIGURE 1-28: FINAL MOMEN 01.- POEM, 0P. 71, NO. 2 In thi chapter I have highlighted poibilitie for muico-pychoanalytical reading of early 20'h century harmonic muic, illutrating that Skryabin' idioyncratic compoitional career hifted from a deire- 12 :; Bower, he N ew 5 aiabin: Enigma and A nnver, Bower, SC!iabin: A Biograpi!J 2, ~ 5 Ivanov, Selecled Ecry (Evanton, Ill.: N orthwetern Univerity Pre, 2003), 223. Chapter O ne 46

50 baed into a drive-baed economy. he philoophical reaoning behind thi late retreat will be the main focu of Chapter 5 and 7, where I acce Skryabin' philoophy in depth. In thee chapter I analye imilaritie between Skryabin' philoophical writing and my own (pot-)tructurally inpired reading. But for the moment I have attempted to lay a table enough Freudian-Lacanian foundation to allow for an excluive focu on the muic in Chapter 2. Here, I will utilie contemporary analytical tool to contruct a more rigorou methodology for undertaking what I call drive-ana!ji. Chapter One 47

51 Chapter wo oward a Codification of rive Intenitie Skryabin' muic ha notoriouly reited attempt to queeze it into analytical mould. In what follow, I hall outline an analytical model more adequate to Skryabin' fluid and protean drive procee. Firtly I build a ytem of analying the drive which Skryabin utilie; econdly I illutrate how thee drive function in tonal pace, which will lead to an examination of how Skryabin' tonal function truly embodie hi erotic theory. hi econd objective will be reerved for Chapter 3 and 4. Our undertanding of chromatic harmony ha been greatly enhanced in recent year by approache uch a Neo-Riemannian theory. Of the divere trand of harmonic theory that have coaleced beneath the Neo-Riemannian umbrella, ome uit Skryabin' tyle better than other. Given that Skryabin' idioyncratic cheme involve t3, t6 and t9 operation -eentially aggregate of the minor third- I have been particularly drawn to the work of Adrian Child. Child extend Neo-Riemannian concern into the remit of eventh chord, and offer a valuable tool for analying and re-formulating 'voice-leading parimony'. Epecially pertinent i the way hi theory examine the relationhip of eventh chord within the 'octatonic' collection. 1 ~ 6 In my interpretation of Child' work, I am le concerned with Skryabin' actual tonal tranformation than with theoriing how Skryabin' chord co11/d potentially dicharge their tenion. Child analye the flow of emi tonally hifting chord; my interet, by contrat, lie in undertanding how the tenion inherent in each chord propel it to the next -an endeavour which only partially fall within the domain of 'voice-leading parimony'. Skryabin' harmonie are uually much fuller and richer than the baic eventh chord examined by Child, and thu require more upple treatment. I ee Fred Lerdahl' work on tonal tenion and aniel Harrion' theory of tonal function a offering equally fertile oil. Lerdahl examine the tenion that i 'tored up' in individual moment of muical dicoure. He provide algorithm for generating relative numerical value for many form of tonal tenion, analying both melodic and harmonic profile of tonal and pot-tonal repertoire. Lerdahl' own admirable analyi of Skryabin' Prelude, Op. 67, no. 1 operate in 'octatonic pitch pace', but I am concerned with tracking the tonal propulion in a variery of tonal pitch-pace, whether they be whole-tone, octatonic, mytic, diatonic, or chromatic. m I will begin by detailing the ditinct pace which Skryabin navigate, while, crucially, hifting the arena of debate from Lerdahl' cognitivim to the Freudian pychological tradition, by which muic enjoy a more viceral relationhip to 'the body'. 126 Adrian P. Child, 'Moving Beyond Neo-Riemannian riad: Exploring a ranformational Model for Seventh Chord', Joumal of M11ic heoij' 42/2 (1998), Lerdahl, onal Pitch Space, Chapter wo 48

52 But ftrt, I briefly revie, from Chapter 1, the proviional method of repreenting the drive graphically. I will now call thi dn"ve ana!jij. In uch format, the Appendice contain ix graphical analye. he graph are elementary: the vertical axi plot the line of ftfth whilt the horizontal chart the temporal flow of harmonic motion; plain grey quare depict each 'drive'. In Chapter 1, lightly haded quare codifted the implied tonic aociated with each dominant-drive; thi i no longer neceary and hall be taken a given. Realied tonic are now repreented by quare within quare, and will be diplayed in the 'key to the graph' in due coure. hee graph highlight drive fluctuation and interaction; they iphon-off the muical urface, allowing u to invetigate the pattern that emerge in the reidue. he imple -? dicharge i repreented by two grey quare moving diagonally downward from left to right, whilt a S-7 motion reache diagonally upward. 1 ~ 8 FIGURE 2-1 : (a) -7 G-7C V-71 (b) 5-7 C-7G IV-7 I hi much i elementary. he leap that drive ana!ji will take in thi chapter i the codifted tabulation of drive intenitie. rive Intenity Becaue drive in the Freudian tradition are baed on varying intenitie, a drive taxonomy mut be hierarchical, howing the variou grade of tenile trength inherent in each. For thi purpoe I turn to Fred Lerdahl' work. Lerdahl' project with Jackendoff in the 90 proved a highly influential, but equally problematic method of mapping tonal tenion. 129 More fruitfully appealing i hi recent work on 'onal Pitch Space'. Lerdahl' book outlay a fairly cloed ytem, and one would baulk at the idea of caually 'dipping' into it. Starting from ftrt principle he carefully build a tructural edifice that numerate all conceivable parameter of muical tenion within the claical tyle. But when Lerdahl twit hi analye into the tranitional turn of the century, he attempt to hold onto a riing balloon for all it i worth. o thi end he propoe cognitive witche in a litener' mode of perception, witche caued by alternation of tonal pace- hypermodulation- between 'mytic pace', 'octatonic pace', 'whole-tone pace', etc. Lerdahl invetigate Skryabin' Prelude, Op. 67, no. 1, howing how the 'lvfyterium collection' i a cale, drawn upon by Skryabin, compriing 'whole-tone' and 'octatonic' l28 I avail myelf of the Riemannian nomenclature ']~Sand to refer to onic, Subdorninant and ominant function. However, I italicie thee label to avoid confuion with the pitch. hee may refer to chord, key or region, though thi will be pecified in each cae. 1 2'> Fred Lerdahl and Ray Jackendo ff, A Generative heory of onal Muic (Cambridge:.tv!I Pre, 1983). 49 Chapter wo

53 pace. hi cale, under procedure of micromodu/ation (tranpoition by minor third or tritone) and macromodu/ation (tranpoition by any other interval), allow variou tructural onoritie to work analogouly to and function. 130 But the implication that uch patial hift are cogniable to a litener i controvertible. 'New' type of pace were certainly not a well etablihed a the diatonic ytem wa (and till i), and it would eem more likely that 'mytic' chord and 'octatonic' cale are heard within conventional diatonic pace either a a reaction againt- or a an expanion of- diatonic expectation. I work on the ame premie a Lerdahl, uing hi algorithm for calculating pecific moment of tonal tenion, but remove them from the tructure with which Lerdahl urround them; hi balloon i allowed to fly away, but only after an extremely productive game i played with it. My argument proper begin with my hierarchical taxonomy of Skryabin' mot frequent dominant onoritie; thi comprie fig However, to undertand the theoretical underpinning of thi model a hort excuru through Lerdahl' algorithm for calculating Harmonic Attraction may be neceary. In Lerdahl' formulae for what he label Harmonic Attraction, he utilie two other value: Chordal itance and Voice LeadingAttradion. hee allow u to ae the tenion that a chord contain that would drive it onto the next chord. Chordal itance: o(x-?y) = j + k 131 'Chordal itance' (0) encapulate the ditance between two chordal onoritie (x -7 y). he baic procedure i to map each chord onto 'baic pace'. hi i a revival of eutch and Ferae' pace that regiter the appearance of a chord' pitche at different tructural level: a chromatic level, a diatonic level, a chordal level, a fifth level and a root level. 132 Octave (root) pace: c Fifth pace: c G Chordal pace: c E G iatonic pace: c E F G A B Chromatic pace: c m H E F F~ G AI>.\ Bl> B FIGURE 2-2: LERI\HL'S 'BASIC SPACE': c l'vlajor But Lerdahl i concerned with pitch clae, a we are, hence: 13o Lerdahl, onal Pitch Space, In the Skryabin example, Lerdahl focue on how pace can 'merge' together to form new pace. Spatial 'hypermodulation' i dicued earlier the ame chapter: "Prolongation in Chromatic Space". 131 A more complete verion of thi algorithm i offered which utilie value i, but thi value, which i only required when chord change coincide with 'region' change, i redundant: i = 0. m Lerdahl, onal Pitch Space, 47. Chapter wo 50

54 Octave (root) pace: 0 Fifth pace: 0 7 Chordal pace: iatonic pace: Chromatic pace: FIGURE 2-3: LERJ\1-IL'S 'BASIC SPACE' IN 'PICH CLASS' FORM: (0,4,7] he pitch cla difference between chord i calculated a value kin Lerdahl' equation: "k = the number of ditinct pe in the baic pace ofy compared to thoe in the baic pace of x." 133 For example, a V -7 I progreion contain four ditinct pe, which are underlined in the econd grid. Chord V -7 Chord I I Q Q II Q 9 II loll 0 7 :! II I It FIGURE 2-4: VALUE k OF (V-7 I)= 4 Value j relate to Lerdahl' "chordal circle-of-fifth rule" which regiter the number of place a chord mut move around the cycle of fifth until it meet the econd chord. Becaue I am excluively working with -7 dicharge, thi value i contant:}= 1. he following table how the difference in value between Skryabin' mot commonly featured functioned chord and their. [1,5,7,11 ] -7 [0,4,7] 7 Q 7 Q Q :! II I I I II [3,5,7,11] -7 [0,4,7] 7 Q 7 Q II Q II II 0 I I [2,5,7,11] -7 [0,4,7] o(v 7 / I) -7 I/1), k = 4, 0 = 5 o(v 7 / I) -7 I/1), k = 4, 0 = 5 7!1 2 7 ll II!1 :! II II 0 I II I) I II o(v 7 / I) -7I/ I), k = 4, 0 = Ibid., 55. Chapter wo 51

55 [1,5,7,10] -7 [0,4,7] 7 Q 7 Q I Q :1. () I II () I II () / 7 / 1) -7 I/1), k = 4, 8 = 5 [2,5,8,1 1] -7 [0,4,7] 11 Q 11 Q Q :! I ' 7 / 1) -71/ 1), k = 6, 8 = 7 [3,7, 11] -7 [0,4,7] 7 Q 7!l II Q : II () I II [5,7, 11] -7 [0,4,7] 7!l 7!l II!l : II II ' 7 / 1) -71/ 1), k = 4, 0 = 5 80/ 7 / I) -7 1/ 1), k = 4, 8 = 5 [2,6,7,11] -7 [0,4,7] 7!l 2 7!l II!l :! II I II 9 10 II 0 I [2,5, 11] -7 [0,4,7] 11!l 11 Q II!l :! II 0 I II 0 I II 80/ 7 / I) -7 1/ 1), k = 4, 0 = 5 80/ 7 / I) -7 1/ 1), k = 6, 8 = 7 [2,7, 11] -7 [0,4,7] 7 Q 2 7!l II Q : II I II () / 7 / 1) -71 / 1), k = 4, 8 = 5 Chapter wo 52

56 [2,6,7,10] -7 [0,4,7] 7 l1 2 7 Q l1.'! () II II () I H 9 10 II () II / I) -7 I / 1), k = 4, 8 = 5 [2,5,7,10] -7 [0,4,7] 7 Q 2 7 Q Q ::! I II / 1) -7 I/ 1), k = 4, 8 = 5 [5,11] -7 [0,4,7] II l1 II Q 1 5 II l1.' II l1 0 I II () I II / I) -7 I / 1) k=68=7 [2,5,7] -7 [0,4,7] 7 Q 2 7 Q Q.'! II II 0 I (, II 0 I 2 ' II / I) -7 I/1), k = 4, 8 = 5 [5,7] -7 [0,4,7] 7 Q 7 Q 5 7 Q 1 () II II () I II 0 I II / I) -7 I/ 1), k = 4, 8 = 5 F IGURE 2-5: 'CI-JO R/\L IS1\ NCE' V 1\LUES SKR.YABI N'S MOS FREQUEN OMlNAN SONORII ES Voice-Leading Attraction: cxrvl (C 1 7 Cz) = cxrt +... cxrn Meauring 'chordal ditance' i a relatively rudimentary enterprie; lightly more challenging, and more focued, i the proce of computing 'voice-leading attraction' (cx,j. 13 -l Baed looely on the Schenkerian premie that untable melodic tone hold an attraction toward more table tone, thi algorithm repreent the tenion in a chord (a compounded individual voice) m oving toward another chord. he unique tenion value for each untable pitch are placed into an additive formula to cover the full chord. hu, in Lerdahl' formula, C 1 and C 2 are "chord in which (at the very lea t) not t.l't 'rvl' i an acronym for 'realied voice-leading'. In other cae, the letter 'e' tand for 'expected'; 'r' tand for 'realied'. 53 Chapter wo

57 all the pitche are identical." 135 a:rt +... a:'" repreent the value o f the 'realied (r) melodic attraction value' for each of the pitche in the chord (n). It only remain to explain the procee by which we arrive at initial value a:. Value a: i baed on Lerdahl' 'anchoring principle' which, he explain, "i the pychological need for an untable pitch to be aimilated into an immediately ubequent and table pitch", baed on the Getalt principle of 'proximity'. 136 Accordingly, the more intance of a pitch within the 'baic pace', the tronger the 'anchoring trength'. Lerdahl remove the level of 'fifth pace' from thi grid to make the third and the fifth hare an equal anchoring trength. Anchoring Strength 4 c~ / c 3 C E G. c 2 C --. E ' F.. G A B c 1 c C# # E F F# G Al1 A BP B c F IGURE 2-6: 'ANCHORING SJU:;:NGHS' CHARE ON HE 'BASIC SPACE'. In order to calculate value a: Lerdahl create a formula for 'melodic attraction': In thi algorithm, p1 and p2 are two different pitche; value repreent each pitch' 'anchoring trength', whilt n repreent the number of emitone interval between p 1 and p2 (then value i 'quared' in the algorithm). 137 he attraction ofb -7 C therefore compute a~~~ X 1 / 1 2 = 4 / 2 = 2. Where a non-diatonic pitch i initiated, it poition in the baic pace i elevated to the diatonic pace level, affecting value 1 and 2. hu the motion from l1-7 Ci equal in tenion to B -7 C, depite the otenibly different anchoring trength in figure 2-6. o convert thi melodic attraction value into a harmonic value one imply compound each pitch of the chord. he following table run through thi algorithm with each dominant-form. t 3S Lerdahl, onal Pitcb Space, Ibid., hi i baed on the Newtonian 'invere quare law' which tate that the attraction between two element i inverely proportional to the quare o f the ditance between them. Ibid., 163. Chapter wo 54

58 [1,5,7,11] [2,6,7,11] exc (F -7 E) = 1.5 ex. (F~ -7 E) = exc (I1-7 C) =2 exc ( -7 C) = 0.5 ex. (B -7 C) =2 exc (B -7 C) =2 ex. (G -7 C) = 0.05 ex. (G -7 C) = 0.05 ex, 1 (V 7-71) =5.55 ex"_ 1 (V 7-71) = [3,5,7,11] [2,5,11] ex. (F -7 E) = 1.5 exc (F -7 E) = 1.5 ex. (#-7 E) = 1.5 exc ( -7 C) = 0.5 ex. (B -7 C) =2 exe (B -7 C) =2 exc (G -7 C) = 0.05 ex"_ 1 (V 7-71) = 4 ex"_ 1 (V 7-71) = 5.05 [2,7,11] [2,5,7,11] exc ( -7 C) = 0.5 exc (F -7 E) = 1.5 exc (B -7 C) =2 exc ( -7 C) = 0.5 ex. (G -7 C) = 0.05 exc (B -7 C) =2 ex" 1 (V 7-71) = 2.55 exc (G -7 C) = 0.05 [2,6,7,10] exrr 1 (V 7-71) = 4.05 ex. (F~ -7 G) = 1.5 [1,5,7,10] exc ( -7 C) = 0.5 exe (F -7 E) = 1.5 exc (BI1-7 C) = 0.5 exe (11-7 C) =2 ex. (G -7 C) = 0.05 exc (BI1-7 C) = 0.5 ex"_ 1 (V 7-7I) = 2.55 exc (G -7 C) = 0.05 [2,5,7,10] exrv 1 (V 7-71) = 4.05 exe (F -7 E) = 1.5 [2,5,8,11] exc ( -7 C) = 0.5 exc (B -7 C) =2 exc (B11-7 C) = 0.5 ex. (F -7 E) = 1.5 exc (G -7 C) = 0.05 exc ( -7 C) = 0.5 ex"_ 1 (V 7-71) = 2.55 exc (AI1-7 G) = 1.5 [5, 11] ex"_ 1 (V 7-71) = 5.55 exe (F -7 E) = 1.5 [3,7,11] exe (B -7 C) =2 exc (~ -7 E) = 1.5 ex, 1 (V 7-71) = 3.5 exe (B -7 C) =2 [2,5,7] exe (G -7 C) = 0.05 exe (F -7 E) = 1.5 ex"_ 1 (V 7-71) =3.55 exc ( -7 C) = 0.5 [5,7,11] exc (G -7 C) = 0.05 exc (F -7 E) = 1.5 ex" 1 (V 7-71) = 2.05 exe (B -7 C) =2 [5,7] exc (G -7 C) = 0.05 exc (F -7 E) = 1.5 ex"_ 1 (V 7-71) =3.55 ex. (G -7 C) = 0.05 ex"_ 1 (V 7-71) = 1.5 FIGURE 2-7: VOICE-LEAING ARr\CfiON V :\LUES OF SKRYABIN'S OMINAN SONORIIES And from thi poition the 'chordal ditance' and 'voice-leading attraction' value of each chord can be amalgamated into a ingle 'harmonic attraction' value.

59 In thi algorithm, 'harmonic attraction' (rh) i imply divided by 'chordal ditance'. Becaue the value generated would be very mall, Lerdahl multiplie the reult by a contant value; value K therefore equal 10. he following table repreent each of Skryabin' dominant onoritie (codified imply a V 7 in the formula, connoting function rather than format, and not affecting the formula in any way). hi data will be ued to build my hierarchy of tene chord - figure that comprie the 'key to the graph' in the Appendice. [1,5,7,11] o:,h(v 7-7I) = K[o:" 1 (V 7-7I)Io(V 7-7I)] = 10 x 5. I = 11 [3,5,7,11] o:,h(v 7-7I) = K[o:" 1 (V 7-7I)Io(V 7-7I)] = 10 X 5.05 I 5 = 10.1 [2,5,7,11] o:,h(v 7-7I) = K [o:". 1 (V 7-7I)Io(V 7-7l)] = 10 x 405/ = 8.1 [1,5,7,10] o:,h(v 7-7I) = K [o:" 1 (V 7-7I)Io(V 7-7I)] = 10 X 4.05 I 5 = 8.1 [2,5,8, 11] o:,h(v 7-7I) = K [o:". 1 (V 7-7I)Io(V 7-71)) = 10 x = 7.9 [3,7,11] o:,h(v 7-7l) = K[o:". 1 (V 7-7I)Io(V 7-71)) = 10 X 355 I 7 = 7.1 [5,7,11] o:,h(v 7-7I) = K [o:n I(V 7-7I)Io(V 7-7l)] = 10 X 3.55 I 5 = 7.1 [2,6,7,11] o:,h(v 7-7l) = K[o:n I(V 7-7I)Io(V 7-7I)] = 10 X 2925 I 5 = 5.9 [2,5,11] o:,h(v 7-7I) = K[o:" 1 (V 7-7I)Io(V 7-7I)] = 10x 4 17 = 5.7 [2,7,11] o:,h(v 7-7I) = K [o:"i(v 7-7I)Io(V 7-7I)] = 10x zl = 5.1 [2,6,7,10] o:,h(v 7-7I) = K [o:" 1 (V 7-7I)Io(V 7-7I)] = 10x zl = 5.1 [2,5,7 '1 0] o:,h(v 7-7I) = K[o:" 1 (V 7-7I)Io(V 7-7I)] = 10 X 2 55 I 5 = 5.1 [5, 11] o:,h(v 7-7I) = K[o:"I(V 7-7I)Io(V 7-7I)] = 10 X 1517 =5 [2,5,7] o:,h(v 7-7I) = K[o:"I(V 7-7I)Io(V 7-7I)] = 10 X 205 I 5 = 4.1 [5,7] o:,h(v 7-7I) = K[o:" 1 (V 7-7I)Io(V 7-7I)] = 10 X I 5 = 3.1 FIGURE 2-8: H.AR!\IONIC AfRJ\CION VALUES OF SKRYABIN'S OMINAN SONORIIES A illutrated in the following decription of the ue of each chord, the reult agree with intuition. And crucially, from thee formulae, the following table can be contructed that will erve a a key for the graphical analye. It contain pitch cla information about each drive, a decription of each chord in common nomenclature and, mot importandy, each drive i given an alphabetical label howing hierarchical poition. In three intance, drive hare equal Harmonic A ttraction value, differentiated on the graph by Roman numeral. In addition to thi lit of 'drive chord', the reulting dicharge mut alo be included in thi 'key', and are found below it: Chapter wo 56

60 Stronget rive [pc] [1,5,7,11 ] C major GB!>F ecription ominant-eventh chord with a diminihed fifth [3,5,7,11] GB#F ominant-jeventh chord with an augmented fifth [2,5,7,11] GBF Pure dominant eventh chord [1,5,7,10] GBI>!>f iminihed chord with additional eventh ('ha!f diminihed') (2,5,8,11] [3,7,11] BFA~ GB# Full diminihed eventh chord A three-wqy drive compried of mf!jor third. On!J charted if orthographically or contextually pecific [5,7,11] GBF Implicit dominant-eventh chord; omitted fifth [2,6,7,11] GBF# 'Mqjor eventh' chord [2,5,11] BF iminihed triad. On!J charted if orthographit"tll/y or amtextuai!j pecific [2,7, 11] GB Pure triad. On!J charted if it ad a a dear V [2,6,7,10] G Bl> F# Minor chord /Pith an additional 'mf!jor eventh' [2,5,7,10] GBI>F Minor eventh chord [5, 11] BF Pure tritotje drive. Mqy reolve in two dimtion, but on!j charted if contextually implicit of tronger drive [2,5,7] GF ominant-eventh chord; third omitted Weaket rive [5,7] GF A pure eventh. A very weak drive, but one that can be amtextuai!j trengthened. Not uuai!j charted icharge: [0,4,7] CEG Pure!J articjiiated onic mqjor chord [0,3,7] CHG Pure!J articulated onic minor chord [0,3,4,7] CHE~G onic mf!jor / minor, hord Ba lone. Often overlap the other rymboh, repreented qy the characteritic black border. Foreground Pitch icharge. Often a very mall-cale dicharge involving one or two individual pitche. FIGURE 2-9: HIERARCHJC,\ L AXONOMY OF SKRYABIN'S OMINAN SONORJIES aking each drive in turn I now explore their appearance in Skryabin' harmonic lexicon. hi preparatory tep will facilitate an invetigation of Skryabin' formal cheme. hi will be the principal concern of Chapter 3 and 4. Chapter wo 57

61 he rive a ""RIVES he a-rive i one of Skryabin' favourite tool. When thi drive i tranpoed at t6 it replicate it pitch cla content preciely. he orthography of it preentation contitute what Varvara ernova call the 'tritone link'. 138 Her theorie will be detailed in due coure, but here I imply claify the drive a a dominant onority with a climinihed fifth, common to Romantic harmony and briefly detailed in ~ ~ Chapter 1. he chromatic pull of it P5, and it requirement to move toward 4, make it the tronget available drive, and one of the mot tonally malleable. One mut bear in mind that thi chord i alo the common French Sixth, and i therefore laden with additional expectation. Becaue thi drive i equivalent to it own t6 tranpoition it i impoible to find a ingle a-rive; they alway come in pair. One of the drive may have tronger yntactical placement on the urface, but, in thi abtract and 'hypothetical' analyi, both a-rives are rendered equally on drive ana!ji graph. hi drive flourihe, and thi illutration from Sonata no. 6 demontrate it working. EXAMPLE 2-10(A) : SONAA NO.6, MM ! FlGUitE 2-10(B): SONr\r\ NO. 6, MM RV E ANALYS S 13H Guenther, Varvaro emoua' "Garmoniia Skriabina": A ranlation and Critical Commentary, 89. Chapter wo 58

62 In m. 283 the following pitche unfold: BP (0),, E, (G) AP. 13? hi et could be pelled "BP,, H, Af,", repreenting a Bf, drive toward an EfJ triad. 1 -IO However, it could alo repreent a drive one when pelled "E, G~, BP, ". In leaving thi ambiguity open, drive ana!ji ignore Sk.ryabin' idioyncratic orthography that would lead other to earch for a ingle tonic. 141 In m. 285 Sk.ryabin alternate thi pair of a-rives with another pair on G and fj. b""'rive Only lightly le attracted to it tonic than the a-rjve the chromatically altered fifth i raied rather than lowered. hi manipulation draw the note upward to cale degree :3 (the third of the reultant triad), rather than l (the tonic of the reultant triad), i.e. ~ 7 E rather than 7 C in C major. li naturally more table and, in Lerdahl' terminology, it ha greater 'anchoring trength' than :3. he b-rive i more rare than the a- 01 uve but a neat excerpt from Caree danie, Op. 56 illutrate it. From mm , b-rj VES alternate with a-rjves to form a cycle of fifth, tretching from C 7 fj 42 43~45 46 FIGURE 2-11(A): CARESSE ANSEE, OP. 57, l.vi:m On a drive ana!ji graph thi produce a neat pattern of dicharge: 139 Concentrating on the drive 'within' chord, d1iue anab1i doe not attempt to explain every pitch within a given onority, which are uually explained by broader octatonic I whole-tone I mytic et. See Wai-Ling, 'Scriabin' "White Ma": ialogue between he "Mytic" And he "Octatonic'" joumal of the Soiabin Sociery of Amen ca 511 (2001); Reie, 'Late Skriabin: Some Principle Behind the Style'. In thi cae, a Cl> and G are contained in the onority, which will be dicued in due coure In thi cae the Cl> would mot naturally 'lot into place' a a imultaneou q fifth of thi E 7 chord, pelled a Bq George Perle how that Skrya bin' orthography i tightly controlled and cloely bound to hi ue of octatony. Skryabin i aid to work draw from an octatonic 'mater cale' from which orthographically fixed heptatonic cale are derived. A Skryabin tranpoe paage by t3, t6 and t9 o doe hi orthography tranpoe. Perle, 'Scriabin' Self Analye'. 59 Chapter wo

63 c F FIGURE 2-11(B): CARESSE ANSEE, OP. 57, MM RIVE ANALYSIS A with all drive in Skryabin' harmony, they do not alway follow their dominant implication. hi i preciely the reaon they embody drive rather than deire. In thi extract from Symphony, no.3, he ivine Poem, the drive behave more like an augmented ixth chord in the key of E: Lento J=SO ublime 1:1 u!i ~,..._,.._,_..., ~ : ppi ~f' ~ ~r I I I ~ I - pocfcrec. If~ ~~~ ~. Ll I I I r b-drive FIGURE 2-12: SYMPI!ONY, N0.3, IVINE POEM, OP. 43, MV. II-"VOLUPES", MM. 1-4 r i C llrlye he pure 'dominant eventh chord' need no jutification for it highly tenile force. One could even claim that it i tronger than the a-rive and b-orjve becaue it i o eaily ditinguihable a a chord; thi, depite the fact that degree :2 pull to either 3 (third of the reultant chord) or I (tonic of the reultant chord) by a whole-tone rather than a emi-tone. hi drive i heteronymou however, a it can act a a German Six th. Ii. C ""RIVE ritaneq11e in nature, tlli 'half diminihed' dominant drive i paradoxically both tronger and weaker than the plain dominant eventh chord: tronger becaue the fifth i diminihed to tighten the attraction toward I (tonic of the reultant triad, i.e l> -7 C); weaker becaue the third i chromatically lowered which lacken it own attraction toward I (i.e Bl> -7 C). he typical preentation in C major Chapter wo 60

64 would look omething like thi example from the 1905 Feuillet d'album, Op. 45, no. 1. Here, in m. 10, the melodically upended C reolve to a Bq. he A-Eii-G-C create a / - RIVE but a the pitch F i initiated with it tritone B, a-rives are alo ignalled on F / B. F IGURE 2-13(A): FEUIUE 'ALBUM, Or. 45, tvllv! II IS 16 FIGURE 2-13(B): FEUILLE o'album, Or. 45, MM RIVEANI\LYr hi contellation o f drive alo engender a b-rjve on G : G -B -0~ (Eil) - F. C ' -RIVES are poitioned in a cycle of fifth progreion, reaching from mm , reinforced by the ba, hown by the black border around each quare. Chapter wo 61

65 dljrfve Somewhat urpriingly thi drive i very rarely deployed. Given the diminihed eventh chord' deep ymmetry, one would have expected Skryabin to draw it cloely to hi boom. Hi phrae tructure certainly avail themelve of the octatonically compatible minor third drive configuration, exemplified mot obviouly in the t3, t6, t9, t12 tranpoition cheme for which Skryabin i renowned. Neverthele, the diminihed chord per Je i infrequently heard. A rare example occur in Etrangete, Op. 63, no. 2 but even thi interpretation clutche at traw; the chord appear fleetingly in the right-hand in m. 2, embodied in the riing EP-G!>-A-C figure. hee four note are part of a larger motive, extending hopitality to the extra pitche B and!>. " graci ui/1: 1 ::d;.: il::..:ica;:: :.:;.1 ~ ~~. H~.----~~ ~~~!! ~ II (. t f"l#~ Op.63 Nr. J FIGURE 2-14(A): ERANGEE, OP. 63, NO. 2 In drit;e anafyjij the chord centre on E!>. hi i omething of a 'fudge', contextually facilitated by the ba' emphai on EP. 1 ~ 2 In iolation, the pitch-cla et ha four way of dicharging; to plot all poibilitie would be graphically exceive. Fortunately, due to the chord' infrequency, thi i not a peritent problem. 2 2:4 FIGUJU:O: 2-14(B): ERANGEE, OP. 63, NO. 2- JUVE ANALYSIS 142 he drive i alo underpinned by pitche G-C# ( ~)- Bb-EP further jutifying my reading. Chapter wo 62

66 i ei>rive Eentially an augmented chord, thi common drive ha the ame voice-leading potential a a b-rive minu the eventh. Rameau called the augmented chord "one of the mot characteritic and expreive harmonie of the French Baroque", and it enjoy equal prominence in Skryabin' repertoire, doubtle becaue of it ymmetrical poibilitie. 143 hi drive triect the major cale into three equal major third, offering 'reolution' in three ditinct direction. hee three reolution mut be borne in mind, but for the purpoe of drive anafyi chart, uually only the mot contextually pecific drive i included. hi aid, the remaining two drive could add vitality to the libidinal flow of a phrae. Skryabin offer few iolated intance of the three-note /-RIVE a it i uually ubumed by a fuller four note drive, but a rare example can be found in the opening moment of Sonata no. 10, Op. 70. Moderato INI dou~.t pur FIGURE 2-15(A): SONAA NO FIGURE 2-15(B): SONAA NO. 10 -RIVE ANALYSIS Why read thi tri-ymmetrical chord a an /'RIVE on rather than on Gl7 or Bl7 when the orthography and pacing (GI7, BP, ) would upport either of the other interpretation? Indeed, a reading baed on Gl7 would upport a dicharge between the opening two meaure, leading to ag-rive on B (C17) (though the root i miing for reaon that will be clarified in dicuion of the g-rjvj he reaon for my '' interpretation are three-fold: (1) the melodic Bl7 'reolve' to a BPI7 (A) before moving to a Gl7 to outline an enharmonic triad; (2) the reemphai of thee pitche a part of a (and A17) a-rive in m. 3; (3) additional reaon of 'tonal ubtitution' which will emerge in Chapter H Of coure thee 14 ' Chritenen, Rotneal/ and Muiml hought in/he Enlighlmtnenl, Baed on variou analytical model, I will interpret 0 a the tonal centre of the piece, a centre which find 'ubtitution' in F, AI> and B. Chapter wo 63

67 three reaon are ultimately highly ubjective and, in the final analyi, all three drive operate and hould ideally be repreented in drive anajyi, thu: 1:4 FIGURE 2-15(C) : SONAA NO. 10-MORE HOROUGH RIVE ANALYSIS However, thi would be problematic in practice and would lead to graphical over-crowding in complex polytonal moment. hi will tranpire thorough an examination of the drive pattern in Sonata no. 10 in Chapter 4. Fortunately for drive ana!ji thi problem rarely arie due to the carcity of the I-RIVE ii e ""RIVE Even with it fifth omitted, the dominant eventh chord remain fairly potent a the tritone pull continue to exert preure. Intance of thi drive abound in Skryabin' work; here i m. 13 of Sonata no. S I - tj Languido II ll ll. " ~ :; h.fl.fl pp dolcl11. con voglia II ll ll ",,..--.,... tj., --=/...,~,~~~ ---~ '~1::::::::- -:::::::1 uno corda Chapter wo 64

68 FIGUR_E 2-16(,\): SONAA NO.5, MM A~ ~ G~ c~ F~ B E FIGURE 2-16(8): SO AA NO.5, MM RlVEANALYSIS Herein lie an F~ 7 chord with the C# (S) omitted. he G# pitch remain extraneou to drive anafyi o f coure, but it i oon ublimated into a uperimpoed a-rjve on E in m. 19' revealing repetition. he A 7 A A A# (3) of the F~ chord become the P5 (#4) of thi drive and, becaue a-rives are alway doubled, a imultaneou a-rive on A# i preented. An i-rive rarely remain intact becaue additional pitche can readily tranform it. he pitche C-E-BP alone form the i-rive but adding pitche F~ (GP), G~ (AP) or G produce a drive of the "modified-s" type (a-ri VE or b- 0 RJvJ, or the full / IJRIVE Such modification are common to the /-RIVE which often lip in and out of fuller drive, propelled by melodic concern or drive interaction. he foregoing paage from Sonata no. 5 underline procee o f drive interaction, but an example of melodic interaction i found in the aforementioned Fmillet d'album from 3 Morcea11x, Op. 45. F IGU RE 2-17: F EUILLE 'ALBUM, MM Chapter wo 65

69 he i-orjve on Bl:> i tranformed into a 1-01 uve a the pitch F i activated at the end of m. 16. hi F i the emphaied tone of a melodic double-neighbour-note figure. Of coure, by the time thi F i truck, a new d- 0 RJ VE i formed from the pitche F,, Cl:> and AI:>. hi aid, the previou ba Bl:> make u experience the chord a a 'dominant minor ninth', itelf a combination of two drive: the d-orj VE and the I-RIVE fl>rive he 'major eventh' i unuual becaue the characteritic eventh i raied, and therefore incline toward degree 5 of the reultant triad. In C major, for example, the F# of the 'G major eventh chord' ha a tronger charge to move to the G than the E. One can eaily imagine ituation, common to jazz muic, when the 'major eventh chord' i ued a a tonic onority in itelf. It own leading note, equetering an integral 'dominant' dionance, embellihe it; i.e. the F# itelf behave a the third of a drive on, embodied within it own tonic G. Another property of the 'major eventh' i it tatu a the product of a major chord that i uperimpoed upon it relative minor. For example F-A-C-E contain both an F triad and an A minor triad. hu the major eventh' poition a a drive i rather equivocal. Skryabin often create tenile relationhip between the triadic element of thi drive and the whole major eventh chord. Nuance, Op. 56 open with a firt-inverion minor triad, the ba Bl:> entry creating a Bl:> major eventh chord - anforive Op.S6 Nr. 3 t I -== pocllin. I FIGURE 2-18: NUANCES, MM. 1-3 But thi Bl:> create a eventh above a new ba C, which, in addition to the E and G# that follow, become a b- 0 RJvE hi moment i particularly tene a the melodic form an a- 0 RJ ve on E and Bl:> before it reolve to a C~. In m. 2 a vertical F major eventh chord announce itelf. On the fourth quaver beat of the meaure a ba C-B~ -A cell emphaie the A minor element of the chord but a pure F triad arrive on the eventh beat. In thi way Skryabin break apart the major eventh and temporally dicloe it detached element. Chapter wo 66

70 Naturally there are many intance of the /ll!uve in polytonal combination with other drive. Such i the cae in Sonata no. 5 where a 'fifth-cycle' of forjves underpin weaker cycle of h ;;;_RIVES and forjves FrGURE 2-19(A): SONAA NO. 5, MM Chapter wo 67

71 FIGURE 2-19(B) : SONAA NO.5, MM RVEANALYSIS Yet becaue of Skryabin' dialectical ue of the forjve's component, it can be awkward to graphically repreent. In mm. 88 for example, the characteritic motive in the right-hand of the piano alternate G major, E minor and B minor triad in quick ucceion. he G and B minor triad are o cloely knit together that a 'major eventh' on G could be inferred. Nonethele, becaue of the interpered E triad, I chooe to label them a eparate 'polytonal' element, depicted on the graph a vertical imultaneitie, though alternative reading would be no le valid. gi>rive Like the augmented triad, the diminihed triad occur at o many point of Skryabin' muic that it incluion on graph would be muddling. Each i therefore only charted if it behave a a clear viio triad. In actual fact, depite it tenility, thi three-note chord i very carce due to it embodiment within fuller chord. A rare occurrence of it iolation i illutrated in figure 2-20, again from Sonata no. 10. After hearing the /- 0 RIVE in m. 1 there i a g- 0 RIVE in m FIGURE 2-20: SONAA NO. 10-RIV E ANi\ LYSIS Chapter wo 68

72 Notice how the g- 01 u v E lack a root- the B i miing. Nonethele, I infer a hypothetical root in order to chart the correct poition in drive ana/pi. hi functioned vii chord would naturally lead to an E chord (H). he pure triad occupie an equivocal poition a, or S, and i therefore often dicounted a a drive. However, when determined to hold a clear function, it appear in the appropriate graphical poition. hi drive i conpicuouly rare in Skryabin' middle to late tyle, but thi codetta from Prelude, Op. 11, no. 14 outlay the approach to the tonic chord- l>- via a pure Al> triad. fl L -- -6' t) -..!!:_., i l- ---!.!" I pp.0.. J:l..u.... ~: ~~. 1l: 3 - :0: :0: FIGURE 2-21: PRELUE, OP. 11, NO. 14-COEA he function i embodied in a pure Al> triad becaue the ene of key in thi Chopineque work i well etablihed; the eventh i not required in the chord. Notice alo that the preceding chord ii i preented likewie. In Skryabin' late tyle, where key i never firmly etablihed, thee triadic drive diappear and triad function a local rather than drive. he minor triad with a major eventh feature occaionally. Of coure the potent tritone i chromatically altered, weakening the drive coniderably. InC major for intance, a BP and F~ looen the emitone attraction (i.e. the B-F pull to C and E) to a whole-tone attraction. Intance abound in Sonata no. 10, where minor 'major eventh' (hii_rives) chord exchange freely with pure major eventh Chapter wo 69

73 FIGURE 2-22(~\): SONAA NO. 10, MM E A G c F BP H AP F IGU ite 2-22(B): SONAA NO. 10, MM IUYE ANALYSIS In m. 158 the decending upper line initially alternate G~ and a GP pitche, making the AP chord fluctuate between a eventh and a major eventh chord: a!-rive and an }RIVE In m. 159 the drive on E begin it life a a minor 'major eventh' chord with a # in the pianit' right-hand, but thi 'reolve' downward to a q forming a minor eventh chord, thu morphing into an biii_rive (which will be introduced next). One of the vagarie of thi drive i the ambiguou role of the major eventh pitch (the F# in C major) who, becaue o f the augmented eventh, ha a tronger propenity to move toward the upper G (S) rather than thee (3), which an F~ (4) would tend toward. Now, in the pure major-eventh chord (the frive) thi motion would be precluded by the reulting 'parallel fifth' a the B/F# move to the C/G. hef-nrive wa therefore adjuted o that the F# decended to thee, but becaue the leading note to tonic motion i till preented in the frive> it i till tronger than thi // RIVE with it P See the formulae preented earlier in thi chapter. Chapter wo 70

74 hi 'minor eventh' chord proliferate in Skryabin' middle to late tyle. It ha equal trength to the h;;_rive decribed above becaue the F-7 E motion of the h'';_rjve (in C major) contain the ame attraction a the F#-7G motion of the h;;_rive Like the other h-rjv ES thi thrive in ection that freely exchange major-eventh drive. M. 3 of Nuance, Op. 56 i a cae in point. An h'i'_rive on Eb occur at the beginning of the meaure, but by the time the melodic El> ha decended toa, the chord ha chromatically lipped to an a-rjve on 0. hi 0 dicharge the Gl> triad that wa embedded in the El> minor drive. Fondu, vcloute II ~ -:::: Op.56 Nr. J a t a -== pocliim. I FIGURE 2-23(A): NUANCES, OP. 56, ivim FIGURE 2-23(B): NUANCES, OP. 56, M. 3 -RIVE ANALYSIS he following moment in Sonata no. 5 how imilaritie. In m. 41 afrjve on Eb i inflected with an Ab, followed by a imilar hybrid of drive on G and Fin m. 42. hi latter produce the effect of a m 7 in the pianit' right-hand over a left-hand G 7 drive. hi h;;;_rive on change to an frjve on Fin the right-hand whilt the }-RIVE on G i maintained in the left. hee example illutrate not only how h iii_ RIVE alternate, but alo how they can be polytonally combined. FIGURE 2-24: SONKft\ NO.5, MM Chapter wo 71

75 j""rive he pure tritone i phyically both the tronget and the weaket drive: tronget becaue it contain the two note with the mot potent attraction value, weaket becaue it embodie ymmetrical tenion value in contrary direction, requiring a particular tonal context to take root. ritone drive are uually arranged into thicker drive tructure; uch i the cae with the French ixth a-ri VE in which a pair of tritone i eparated by a whole-tone i.e. B/F- C#/G. And yet at other time they are arranged in pair that bear no ingle functional interpretation. In uch cae they are charted a individual i- RIVES Like a RIVES i-rive are alway polyemic and pluralied; they can dicharge either 'outward' or 'inward'. In the coda of Sonata no. 6, the tritone, organied in the ba, are eparated by a emitone- G/C# and Al>/. hee 'jar' too much to be part of a ingle recogniable drive and are therefore charted eparately. In m. 372 the i- RIVES on Bl> and E are ublimated into full!- RIVE. which in the right-hand figuration. FIGURE 2-25(r\): SONi\r\ NO. 6, l'vim E A G c F m EP F IGU RE 2-25(8): SON A,\ NO. 6, MM RIVE ANALYSIS However, one mut ultimately acknowledge that, whilt the tritone i vital to Skryabin' compoitional proce, intance of it iolation are comparatively rare in the repertory; it i uually embodied in a more pecific drive. Chapter wo 72

76 /IJRJVE Although the i-orive comprie only two note, thee pitche bear the highet attraction value and are therefore tronger than the J-oRJVE which conit of the dominant chord minu the third (i.e. G--F in C major). It eem that the combined force of G and i till not a durable a the ingle leading-tone B. 146 In thi aertion I am at odd with claic Ruian muic theory, which, ince Bolelav Yavorky, find no attraction for B to rie to C, maintaining that B 'deire' to decend. A Ildar Khannanov how, "Yavorky conidered the reolution of the leading tone not the motion up, but decending to the table tonic." 147 Of coure Yavorky' view would contravene the Getalt principle of the 'hortet path' upon which o much of cognitivim' implication-realiation model are baed, from Meyer to Lerdahl. he relative weakne of J-oRI VES would limit their incluion in drive ana!ji in ome cae. M. 87 of Ver Ia Flamme, Op. 72 initially outlay the pitche BP and F beneath a utained Ail, forming aj-orjve- 148 In thi paage of Ver Ia Flamme, intricate operation are under way, which are the ubject of Chapter 6, auring their incluion on graph. - ICI FIGURE 2-26(A): VERf L4 FI.. AMME, Or. 72, M FIGURE 2-26(B): VERS L4 FLAMME, OP. 72, M. 86- RIVE ANALYSIS kljrive he weaket drive in Skryabin' repertory (that I have judged to be worthy of incluion) i the pure eventh interval. hi i imply an inverted whole-tone and i therefore left uncharted in all but a few intance. However, there are variou occaion when the drive mut be recorded; a Katherine Bergeron claim of the interval in ebuy' Pe//ia, the whole-tone can till carry the "tenacity of 146 he value Cl. c off -7 E i 1.5, and B -7 Ci an even tronger 2. hu thee two pitche in concert create a very tenile unit. Compare thi with the 0.5 value of -7 C and the 0.05 of G -7 C. 147 Khannanov, R11ia11 Methodology ofll1uica/ Fom1 and A na!yi, M hee~ and c~ tremolando affixe a compoite ('.. RI \'E to F, emphaied in the ba. Chapler wo 73

77 deire". 149 he whole-tone interval i.r regarded a dionance and therefore doe engender an expectation of reolution in tonal harmony, but thi requirement i highly ambiguou and highly context-pecific. he opening chord of Prelude, Op. 67, no. 1 contain trong a-rives on C and F~, but the pitche Bl> and AI> in the upper voice are articulated a eventh rather than whole-tone. If thee were not o expoed one would not deem it neceary to chart them a drive, but upon their dicharge into an El> 7 drive in beat 4, their force i retropectively confirmed. Naturally, after the initial dicharge, the repeat of the opening onority in m. 2 i even more loaded with ignification; the drive i trengthened. "Andante ~r-,.. r, v r pp vague,myrtirilu.% I FIGURE 2-27(1\): P RELUE, Or. 67 MM :4 2 2:4 F~ B E A G c F Bl> FIGURE 2-27(B): PRELUE, Or. 67 MM RJVE ANJ\LYSJS Ba rive An important factor in drive ana!j.ri i the location of the ba tone. In general term, if a drive i upported by it root then it i much tronger; if the root i miing or diplaced, the drive i weakened. However, the ba can act a a drive in it own right in certain circumtance, often graphically divorced from the main drive network, repreented via black border around the relevant quare. A drive ana!j.ri Bergeron, Katherine, Meliande' Hair, in Smart, Sinn 5 ong: &prrentaliom rif Gender and 5 exualiry in Opera, 180. Chapter wo 74

78 chart of Prelude, Op. 56 how an utterly fragmented ba configuration, which i almot alway dilocated from the corpu of drive. 111 I... I I ~ r'p!1f., <.I... I r., ;:::,.. r ~ ~ ;:,..... ;::... ~..., I ~ ~~ h ~.. :;j 0 ~... Chapter wo 75

79 I 22 J\ I ~~ ~~ : ~; ~ ~~~~ ~r~ ~: ~ F- I I f) v l,...oo...,...-,... J. - -: ~~~~~-! r----: :;:..., ~'1'1... ~ 'IJ l1bl : t.. =.. l ~ ~ ~ i. 11 ::> f FIGURE 2-28(A): PRELUE, OP A G c F IGU RE 2-28(B): PRELUE, 0P. 56- RIVE ANALYSIS he ba occaionally lie directly north of the drive' quare, indicating 'econd inverion' pattern; ometime it lie four quare north, indica ting 'firt inverion'. A 'third inverion' (eventh relation) urface on occaion; indeed the piece begin in thi fahion. Sixth relation alo arie. In thee 'dionant' ba relation (excluded from the pitche of the triad) the ba act a a dilocated drive, following it own bent (i.e. m. 21). Between m a cycle o f fifth tem from, and return to, a Chapter wo 76

80 pure ba-drive. hi ame occur in mm , but it i the ba in m. 17 that begin the cycle rather than the trong!-rives on H. he ba then, not only drive the harmony forward, it drive ite!f, often diengaging from harmonic progreion and initiating new one. Pitch dicharge A 'pitch dicharge' (p) concern thoe occaion when a dominant drive, whilt not fully dicharging all of it tenion, move toward a tonic reolution in one or two of it pitche. Perhap the third of the drive chromatically rie to dicharge into cale degree l in a leading-note to tonic motion, whilt the body of the drive remain fixed or ele dicharge eparately. By way of illutration, I ue the dicharge that occur in mm of Prelude, Op. 67, no I I I!W "';:::;'r:... -r.._ r " i.l h.l J -,_, _ I :::::-r f-....,_. -:!:14. " FIGURE 2-29(A): PRELUE, Or. 67, NO. 1, MM # G# C# F# B E A G c F FIGURE 2-29(B): PRELUE, Or. 67, NO.1, MM he decending melodic pattern- G -(E)--B- harmonically reonate with the F to produce a!-rive on G. Whilt thi barely dicharge itelf onto a C major chord, the leading tone B doe reolve to the Chapter wo 77

81 pitch C. I decribe thi a a pitch dicharge; it vaguene i repreented graphically by a light-grey tonic quare on the graph and the ymbol p. Evaluation of Ue and Limitation of rive Analyi hi urvey of each drive type naturally take leave of Lerdahl' analytical ytem; hi algorithm have been appropriated only inofar a they hierarchically order thi catalogue of dominant chord. o contruct a totaliing ytem akin to Lerdahl' that would calculate tenion at every moment of Skryabin' muic would prove problematic for a variety of reaon. Firtly, Lerdahl' ytem revolve around a tonal centre, but the free activity of floating tonic i the primary compoitional principle in Skryabin' muic; the conflict of tranitory 'tonic' keep hi harmony in perpetuum mobile. rue, the final geture of many work celebrate a tonic chord, but thi 'lat minute' tabilier doe little to control our perception of the preceding ound. Secondly, Lerdahl' cognitive model rely on a knowledge and appreciation of 'tyle' which, given Skryabin' tylitic manoeuvre from derivative Chopineque patiche to an intimately peronal idiom, i difficult to attribute to a litener. A third iue arie from Skryabin' lack of a prevailing ene of 'melody'. Although the compoer revel in Claical phraing, he avoid conventional melodic contruction. A fourth ignificant problem i that drive trength are critically affected by their vertical preentation; unuual pacing can rob pitche of their function. In connection with thi, dicharge are often accompanied by atypical voicing- a fifth iue. But a ixth tumbling block i perhap the mot irkome obtacle to a ytematic expanion of drive-hierarchiethe concept of 'polytonality'. In the majority of Skryabin' chord a plurality of drive operate on the vertical plane imultaneouly and, naturally, each diffue the other. It would be inconceivable for thi to be contained within a ytem uch a Lerdahl'. So why i drive anafyi neceary? he taxonomy of drive trength work abtractly but locate the important drive type, relating them to each other, expoing moment of contact and exchange, charting the tenile high and low on a general level. he other major contribution, a I will attempt to illutrate in Chapter 4 and 5, i the poibility of exploring the contellation that form in different type of pace. But the primary advancement i perhap that the ytem allow the muic to peak for itelf, ignoring the traitjacket of conventional analytical tool. rive ana!ji i deigned to work with uch conventional ytem; it doe not find itelf at loggerhead with either the Fortean-Schenkerian approach of Baker, nor the oclatonic, mytic and Jvhole-tone exchange of Perle, Wai-ling, Reie, Lerdahl, Callendar and other; drive ana!ji remain detached. hi aid, it interrogate the validity of certain traditional dipoitif; myth uch a the mytic chord become the product of maller and, crucially much freer, component that congregate in variou way. Some of thee contellation will now be explored in detail. Chapter wo 78

82 Chapter hree rive Analyi and it Viciitude Before crutiniing the broadet level of drive motion in large-cale work, thi chapter- an extenion of Chapter 2- focue on drive pattern and configuration at their mot immediate (foreground) level, whilt critically evaluating drive analyi through core-baed application. After howcaing variou drive 'gambit' in Skryabin' repertoire, I will ituate thi analyi within current theorie of polytonality and cloe the chapter by tentatively examining way that drive can be ordered into full muical tructure, undertaking a complex analyi of two late piece. Libidinal Intenity nve analyi erve, in the main, to howcae the fluctuation of drive trength. Particularly in paage where drive activity i predominantly 'monophonic', it demontrate the tightening or lackening of drive tenion. In thi example from Sonata no. 10, mm , Skryabin invet energy in drive on E that grow in trength from an /P- RJVE to a 1- RJVE For a ready guide to thee drive categorie, pleae ee either tl1e preceding chapter or the 'key to the graph' at tl1e head of the appendice. FIGURE 3-1(A): SO AA NO. 10,!viJ\1! FIGURE 3-1(8): So r\a NO. 10, MM RIVE fu'\ialysis hi repreent a common trope of Skryabin' work; a drive i ambiguouly introduced and gradually cry tallied. Such procee often occur polytonally. For example, in m. 243 of Sonata no. 6, a- RJVES and i- RJVE$ on, G~ and E trengthen a the chord change in the econd half of the meaure. Chapter hree 79

83 i u 1 3- FIGURE 3-2(A): SONAA NO.6, M. 243 he i- RIVE wa formed from the pitche and G# that were articulated in the ba, but come into it own when the octave B' and the trill one enunciate a!-rjve on the econd beat. hu the i-rive i ublimated into a!-rive Even the a-rives are temporally unfolded, following a weak~ trong trajectory. In m. 243 the pitche of an a- RIVE on unravel one at a time: C-F#--G#. hu what we actually hear i ani-rive on (C-F#) moving to an /-RI VE on (C-F#-), which give way to a-rives on and G# (C-F#--G#). But thi would be cumberome to demontrate graphically, and it i generally reduced to a imple a- RIVE hee difference are hown in the following drive analyi. 243 FIGURE 3-2(B): REPRESENE VS ACUAL RIV ES But thi drive intenification proce can run through larger paage. hi extract from Sonata no. 10 i a cae in point. Here, third-related drive on F, A and ~ move from f RIVF..S to!-rives In fact the drive on ~ contain a triple metamorphoi from an //-RIVE to an f RI VE to a!-rive Chapter hree 80

84 .,. F IGURE 3-3(A): SONAA 10, MM A G c Al> FIGURE 3-3(8): SONAA 10, :NIM JUVEANALYSIS Such procee can tretch acro even more extenive paage, and in polytonal combination too. Oberve the tratification of drive in the following extract from Sonata no. 5. l. I Allegro. lmpetuoo. Con travaganza.,.,.. ~ fl II II..,.. flo tl ~-9 q.g!fbi otto voce.. fr q ~f... p Op.53 ( Jl"_ "Jt "Jt "Jt "Jt "Jt "Jt _!!/ "Jt "Jt !' "na corda 7 *" _... Chapter hree 81

85 .. - m ".. q "',..,... ~ flo II.....,... ~ q~f p -.,;...,;.....,; ~ ---!!.../ IS *If A accel. A 6 I.~B":~ ~ii~~~~-~ &-~~~~i---~~ ~~~~~....,;....,,.,; tre co...t 5,. Languido II ll ll : : :;--. fj ~- tj II ll ll. " -- pp dolci,.. tj ~... -.:_...;;:.. "4:' ~,~,~-:---~,. - -~.., con voglfa I r..:_...-. Accarezzevole Chapter hree * 82

86 F IGURE 3-4(A): SONAA NO. 5, MM FIGURE 3-4(B): SONAr\ NO. 5, MM IUVE ANALYSIS he drive on F ~ in particular undergo a low metamorphic intenification proce. Initially preented a / - RIVES they move to an inipid k-rive before immediately recalibrating into a turdier b -RJVE in m. 19. In m. 28 Skryabin reume the drive a a weak I -RIVE immediately lackening to an / -RIVE before tightening it into a I - RIVE and ultimately a b - RIVE in m On the G~ tratum }._RIVES remain fixed, whilt on thee tratum a -RIVE and b-rive.s huttle back and forth, interrupted only by a rogue /-RIVE (an incomplete b-rrvu In uch polytonal combination, drive ana!ji cannot cope with contrapuntal drive activity in line with Lerdahl' computa tional ytem; it become difficult to ae precie relative trength or weaknee. Neverthele it can at leat follow the polyphonic current and expoe the fluctuating colliion o f driv. M. 3 of E trangeti, Op. 63, flow from a full-blood d I-RIVE on F# in m. 3 toward an anaemic h ;;;_Rl VE on F ~ in m Whilt the /-orj \ 'E i technically weaker than the a -ortve, it i more conventional, and therefore more ditinguihable. Chap ter hree 83

87 FIGURE 3-5(r\): ERANGEE, OP. 63, NO.2, MM :3 4 5 FIGURE 3-5(8): ERANGEE, 01'. 63, NO.2, MM RIVE ANALYSIS Whilt, following Lerdahl, a numerical value can be upplied for the lackening off# drive tenion in m. 3, the bitonal!-rjve on A in m. 4 reit computation. Neverthele, it i certain that the two imultaneou drive diffue each other in a way that drive anafyi can demontrate, even if it cannot calculate. epite thi limitation, the facility to probe Skryabin' polytonal drive combination and pattern i till available. hi will now be hown, though an invetigation of the impact of thee pattern upon the broadet level of intenity- fluctuation will be potponed until Chapter 4. Chapter hree 84

88 Polytonal rive Configuration and Pattern Polytonality a a concept ha a omewhat chequered hitory, which will be dicued in thi chapter, but my conception of polytonality pertain more to poly tonal dicharge- the potential for drive to dicharge in imultaneou tonal region. In ome intance, when conventional analyi would locate a ingle tonal function, drive anafyi how how multiple function can work together. In the following moment from Caree danee, drit;e ana!ji locate a bitonal dicharge of two a-r.ives (on E and Bl>). FlGURE 3-6(A): CARESSE ANSEE, MM E A G c FlGURE 3-6(R): CARESSE ANSEE, MM RJV E ANALYSIS More conventional analyi, which generally hun polytonality, would find nothing more than two chord of identical pc content and of dominant character, the firt dicharging into the econd. hi interpretation i poible only becaue the chord hare the ame drive configuration. But there are hundred of dicharge in Skryabin' repertory where the eparate drive element o f a onority dicharge independently. Examining uch intance will not o nly lend credence to drive ana!ji in oppoition to prevalent analytical method, but will hopefully open up ome of Skryabin' more intricate compoitional technique. aniel Harrion recently coined the term 'double barreled dicharge' to categori e moment when two imultaneou chord function ('dominant' () and 'ubdominant' (S)) dicharge their perfect and plagal Chapter hree 85

89 function into a hared 'tonic' (7) In my more liberated form of polytonal analyi, 'double-barreled dicharge' occur when two chord, regarded individually a local dominant, dicharge into two eparate tonic; I therefore ue the term 'double-barreled bitonal dicharge' ' FIGURE 3-7: H AlUUSON'S OUBLE-BARRELE ISCHARGE AN MY OUBLE-BAIUlliLE-BIONAL ISC HARGE I proviionally examined bitonal dicharge in Chapter 1 in relation to Poem, Op. 71, no. 2 and Etude, Op. 56, no. 4. In the light of my work on drive intenity, one can now oberve that dicharge flow between chord in different drive configuration. icharge can be categoried according to the pattern that form on dritjc ana!ji chart; the principal type are 'parallel dicharge', 'contrary dicharge' and 'neted dicharge'. Parallel icharge he two example of double-barreled bitonal dicharge in Chapter 1 are form of 'parallel dicharge'. Both drive dicharge into their own to create pattern of parallel, decending, diagonal line on d1ive ana!yi graph. In both cae the drive were 'whole-tone' related, but there are many intance when drive of different intervallic relationhip are mutually dicharged. In m. 15 of, Op. 67, no. 1 I RIVES on F~ and B!> are approached from a I-RIVE and a /-RIVE on their dominant of C~ and F. M. 15 alo contain an a-rive on E, which dicharge onto a minor triad on A, whilt a drive on B!> dicharge onto a ba pitch E!> (~). A pitch dicharge into C (from a d -RIVE on G which morph into a I-RIVE in m.16) create a minor third correlate to the A -7 E motion, preenting two modally 'relative' dicharge. he ame occur with the G' own modal partner- B!>- dicharging onto a ba E!>. 1 ' 1 Harrion, Hmmonic Function in Chromatic Muic: A Renewed ualit beory and an Account of It Pruerlent, 105. Chapter hree 86

90 ~.-, II I I -----:::::::: I J.J.I tl ~i r r---:r P.,.'!: dloltin.nt I. ~ ~.--: h...j:::.!f!l... r I S a [ill _.. ' fl a.j h..j I -1- -,.--.1 ~ J : I t) ~r:.._ -r..._ l., tt~ v;..-..j:- -.I..-;---._ JI.J J...J;i 8*: ;,.- tt ~'''*::...!W _fl J ~..J L J _l 1 tl ~j.:... --i,r. r - 1'-- -r vr r.tt..j:--.1 Jl J. 1.~ ~..:: ~ tt,_,.,!)#' FIGURE 3-8(A): P RELUE, OP. 67, NO.1, MM I I.. J 7-- I - r...::::::::.-- I LJ ~ :--::::::::::::::: I r- -.J~ ;:!""' ~~ ,,.. =_./ G~ en F~ B E A G c F 13 14: : F IGURE 3-8(B) : PRELUE, 0 P. 67, NO.1, MM RIVE AN1\LYS IS Chapter hree 87

91 In mm. 1-2 of the ame piece (ee figure 2-27) a novel drive configuration outline a 'double-barreled bitonal dicharge' o f whole-tone related drive, expreed a an a-rive> a k-rive> an i-rive and a I RIVE Naturally the ba upport the tronger a-rive and! -RI VE> but without the k-rive and the i RIVE there would be no dicharge connection. he weaker drive then become crucial to the dicharge of the tronger. And minor third related 'double-barreled bitonal dicharge' like thoe of m. 15 of Prelude, Op. 67, no. 1 are rather common. hey lurk in thi paage from mm. 3-4 of Prelude, O p. 7 4, no. 1. ~ u- ~. Jl: j,j. l -rq t) t: {t L L dim. t:. r L t: p r I 1 q: ~J ~ ~J ~. r j)r-...r) ~ lit: FIGURE 3-9(A): PRELUE, OP. 74, NO. 1, Mi\ r "---! - F# B E A G c F FIGURE 3-9(B): PRELUE, OP. 74, NO.1, MM RIVE ANALYSIS H ere, a major triad on A in the middle of the texture (expreed a A, E, P, but preceded by an a-rive and therefore keeping momentum a an h i-rivj move in parallel to an a-rive on C, dicharging into minor third related / -RIVES on F (pelled a F, Bfh, C and EP) and. Whilt minor third relationhip become the maintay, major third related dicharge are alo common. Figure 3-10 (from E tude, Op. 49, no. 1) highlight!-rives on / AP and a b-rive on BP dicharging imultaneouly onto an a-rive and a b-iuve Although thee two chord contain identical drive Chapter hree 88

92 configuration, the econd i preented a a dicharge of the firt; the B!>/ A!> eventh o f the firt' ba become the octave E!> o f the econd; the F# leading note o f the firt reolve to the G of the econd. FIGURE 3-10(1\): E U E, Or. 49, NO. 1, MM FIGURE 3-10(B):EUE, 0P. 49,N0. 1,MM. 18 Another noteworthy pattern throughout Skryabin' repertoire i the 'de/qyed-double-barreled bitonal dicharge'. hi occur when poly / bi-tonal element of a chord dicharge one at a time, reulting in the deferred reolution of one o f the drive. In Op. 45, no. 1, for example, a peudo-mytic chord in mm. 6-7 yield a C~ pitch, creating a full / -RIVE on F a well a G. Andante piacevole ~ 108 I I.J- Jl l 2 -,_... I ~,...,..J. ~,...I l J"i~ '... t.l - t--f--i::"t r. pocolt. r r. Plegao ~ ~~ 1&... 'h lj. b.. ~c FlGURE 3-ll (A) :.FE UILLE 'ALBUM, OP. 45, NO.1 Chapter hree 89

93 B E A FIGURE 3-11(B): FEUILLE 'ALBUM, OP. 45, NO.1, MM RJVEANJ\LYSIS In m. 7 the! -RJVE on G dicharge onto a C minor triad, initially outlined through the octave C and now trengthened by the G (articulated half way down the melodic decent) and the El> in the upper left-hand. he 1-oRJVE on F however, reerve it dicharge until m. 8 whereupon the 1-oRJVE on Bl> dicharge onto El> in m. 9. hi 'delayed' dicharge i clearly the tronger line: G ~ C ~ F ~ BP ~ El>. We hear thi more predominantly becaue of (a) the ba upport which outline thi equence and (b) the continuation o f thi line after other imultaneou drive have been tripped away. Contrary icharge A hown, whenever a dicharge combine with a S dicharge, a pattern of converging or diverging drive emerge on drive ana(yi graph. he paradigm of converging dicharge i the 'double-barreled dicharge' (in H arrion' nomenclature), where two chord, eparated by a whole-tone, converge on a local tonic, a ingle point of dicharge that retropectively confirm the previou chord a Sand functioned. Continuing my illutration from m. 10 of Fe11illet d'a/bum, Op. 45, no. 1, a b-rive on G and a l- 0 1 u ve on A converge onto an a- 0 RJvE on ( pelled a E~ and Gl>). Chapter hree 90

94 10 II F IGURE 3-11 (C): FEUJLLE 'ALBUM, Or. 45, NO.1, MM RIV E ANALYSIS In uch intance of 'double-barreled-dicharge', the S dicharge i 'unnatural' becaue the S function i embodied in a chord- i.e. with the requiite eventh. hu when drive actually 'converge', they deny their tronger inclination to dicharge in parallel direction. hu I propoe that any form of converging dicharge involve ome degree of 'drive repreion'. But in polytonal tructure, the drive rarely retain thi paradigmatic S / configuration, and uually lie further apart, dicharging onto multiple element. In m. 14 of Etude, Op. 49, no. 1, tritonally related a RIVES on A and El:> converge toward a k-orive on and a tronger /- 0 1 uve on Bl:> - ee figure 3-12(b). L 3 J L 3 J L 3 J FIGURE 3-12(A): EUE, OP. 49, NO.1,.Mivl : :2 15 A A~ # G G# c C# F F# B E i\ figure3-12(b& C):EU I~, 0P.49,N.1,MM RIVEANA LY.IS Of coure thi 'convergence' mut be dimied a an auditory experience; it i an illuion produced by the patial configuration of drive analyi graph. he tritone drive appear to reolve inward Chapter hree 91

95 (converge), but an orthographic variation could ee them reolving outward (diverge)- ee fig. 3-12(c). hi econd variant would ound identical, interpretation reting olely on Skryabin' orthography -a marginalied concern in drive ana!jz. Nonethele, ditinction i made between 'converging' and 'diverging' dicharge a a patial category ino far a they decribe relative pattern on the viual drive field. But another factor to conider i the location of the 'ba drive' that can provide a trong ene of key. he following extract, lifted from Op. 45, no. 1, how two minor ixth related /-RivE on F and ; the ba emphaie the pitch F, making the ound a 'ixth' above (the pitch being the third of the expected reulting triad of BP). In moment like thee, more finnly grounded in tonality perhap than later work, the categorie of convergence and divergence are more clearly defined. =- FIGUIU:;: 3-13(!\): FEUILLE 'ALBUM, 0P. 45, 0. 1, MM FIGUR.E 3-13(B): FEUJLLE 'ALBUM, OP. 45, NO.1, MM RIVE ANALYSIS Again the weightier drive on F, emphaied in the ba, i the drive that obey it dominant implication, continuing a taggered erie of fifth. he 5 dicharge of thi contrary-motion pattern remain weakly articulated, fizzling out at the point when it would reach a drive on E in m : he forive on Bin m. 20 partially reconnect thi chain of fourth, but thi weak line urely lie beyond the limit of aural " 2 In a ene, thi drive i p reented a a imultaneou g-o RI VE in m. 20 with the pitche.a I>, Cl> and (G~, Band ). Chapter hree 92

96 perception. Neverthele, uch pattern occur in more concrete form in the repertory. Etude, Op. 56, no. 4, briefly analyed in Chapter 1, contain uch a paage. Recating thi ection in drive ana!ji now illutrate the trength of the dicharge line (decending), againt the weaker articulation of the S (riing) line. 17 ~ /'( L ~~ ',~- - Ap ~~. ~ ~~ ~ ~ ~ ~- FIGURE 3-14(A): EUE, OP. 56, NO. 4, tvl\ (l "hemcl odic'i\' inm. l 8 i int e rpre teda i\ ~) FIGURE 3-14(8): EUE, OP. 56, NO. 4, l'vlm (Some leer o-o.. m h3\ e been omitted to impro, e cbrity) icharge Combination Moving toward a dicuion of more protracted drive dicharge pattern, one mut locate moment where both parallel and contrary dicharge interact in lightly longer paage. In Prelude, Op. 67, no. 1 - the piece that Lerdahl analye - facinating dicharge amalgamation are in evidence. 153 hi dicuion follow figure 3-8, which the reader i now invited to reconult. M.13 contain a contrary motion double-barreled bitonal dicharge; a g-ri VE on F~ and an i -orive on C dicharge to a I -RI VE on C# and a C-RIVE on F. hee new drive dicharge in parallel motion to tronger drive on F# and BP in m. 15. In thi meaure four drive on BP, G, E and F# are articulated. he drive one and G I >J Lerdahl, o,al Pitch Space, Chapter hree 93

97 dicharge in parallel motion to A and C, whilt the drive on Bl> dicharge in contrary motion to a g RIVE on F in a S direction. And thi i one of the rare intance in which a S cycle maintain it trajectory, tretching from BP -7 F -7 C -7 G. And in mm an interlocking pattern emerge, ignifying a tight network of both type of dicharge. Skryabin, it eem, contantly keep drive dicharge in flux. Parallel dicharge are naturally the mot aurally ditinguihable but Skryabin find occaion to allows-dicharge to flourih. Such pattern however, are generally interected by dicharge, auring the retention of a baed libidinal flow. Neted icharge A feature that will later become philoophically important to my dicuion of the drive i the 'neted dicharge'. Many time, when the layer of clearly articulated pattern and procee i tripped away, ubtle dicharge remain beneath the urface. hi block of a-rives from Sonata no. 6, form trata of minor third and tritone but alo contain variou I-RIVES> which control numerou 'neted dicharge' in m. 181, m. 183 and m (A): SON:\A NO. 6, MM Chapter hree 94

98 F~ B E A G c F FIGURE 3-15(B): SONAI\ NO.6, MM RIV E ANALYSIS In m. 181 a- 0 RJvES o n F,, B and G~ create a minor third aggregate 'block', from which the a- 0 R. 1 VES on F# and C (initiated o nly through the paing pitch B) are exiled. he drive on F# i quickly aimilated back into the minor third tructure via a dicharge to the B, whilt the C dicharge back into the F. In m. 183 the previou drive on i allowed to dicharge to a 1-oRJvE on G, which then dicharge onto a weak C and tronger F in turn. hi latter drive on C i another alienated drive, aimilating itelf to the 'block' tructure via it motion to F. Such minute dicharge are neted within more predominant drive configuration. rive Analyi and the Ruian radition: Varvara ernova Reader aware o f the changing face of analytical tudie o f Skryabin' muic throughout the lat century may recognie fragment ofvarvara ernova' theory in the preceding dicoure. Guenther, Baker, Carpenter and Bower each provide detailed commentarie on ernova' y tem, but it would be remi to omit a very brief ummary of her baic procedure. 154 Baed on Bolelav Yavorky' harmonic theory of 'dual modality', he developed the concept of 'dual dominant'. Interpreting the French ixth configuration o f inter-locking tritone (my a- 01 uvj a a dominant-eventh chord with a diminihed fifth, he propoed that Skryabin enharmonically repelled the chord complex, altering the ba pitch to create a conflict between two tritonally related key. She label the original complex A and the 'derived dominant' (i.e. the tritone equivalent) B, uggeting tha t thee maintain a kind of ernova, Gar/1/omia Skn.abina; Guenther, Varvaro emova' "Garmoniia Skn.abina": A ranlation and C!itica/ Commentary; G uenther, 'Varvara ernova' Sytem of Analyi of the Muic of Skriabin.'; E llon egrief Carpenter, hematic evelopmwl rmd Continuity i11tbe w Piano Sonata of Alexander Scriabin (MA: Kent State Univerity, 1972), 24-33; Bower, be N ejv Smabin: Enig!lla and AnJVer, Chapter hree

99 'double tonality' with the commenurate A and B repreenting the two tonic. She poit the theory that Skryabin add additional tone to thi onority, tone which he term 'V' and W '. ernova alo extrapolate characteritic linear progreion from thee onoritie. Some example o f thee will be examined in Chapter 7' dicuion of the Poem rifecta.ry. Critic of ernova' work claim that he doe no t alway face the muical fact. J ay Reie call apect of her analye "ingularly unconvincing" whilt arukin bemoan the inflexibility of her ytem: "he chief hortcoming of ernova' approach eem to be the rigidity and abtractne of the cheme on which it i baed." 155 arukin alo expoe the telling fact that ernova never analye a ingle complete piece. Perhap the main problem i that ernova' theory i a limiting a the tonal ytem that Skryabin wa eeking to undermine. Guenther, who i both ernova' greatet advocate and harhet critic, how how he chooe a tonic and label it preceding chord retropectively. 156 hi i highly p roblematic. aniel Harrion decribe how 'poition finding' i part of both our analytical and aural experience, but in condening Skryabin' open tonality into a cloed tonic, the ambiguitie in which Skryabin revel are lot. 157 But one excellent feature of ernova' ytem i her concern with chord rather than chord. She claim: "It would be a mitake to think that the tritone link replaced the tonic, or became the ' toni~' of dual polarity. It both wa and remained the 'dominant"'. 158 Regarding ernova' work, Guenther further claim, "the tritone i [emphai minel the dominant". 159 But le appealingly, ernova trie to build a ytem in which the dominant onority i tripped of it gravitatio nal energy uing Sabaneyev' ill-conceived notion that Skryabin' harmony wa "non gravitational": "Skryabin i not concerned with harmonic attraction but pure harmony". 160 hi unfortunately now accepted view doubtle arie from the lack of reolution to chord that are perceived a functioned. ernova how how, in Skryabin' 'middle period', "ubdominant harmony gradually but quickly give place to dominant harmony a if compelled. But there i no further outlet, no tranition even to relative tability, which would give an outlet and further direction to the energy" l GI hi poition eem at odd with the original aim of Bolelav Yavorky, from whom ernova derived her whole theory. A Guenther ay: "Yavorky wa the firt to fonnulate clearly the concept of polarity a a general ytem baed on the attraction of untable element to the nearet l 55 Reie, 'Late Skriabin: Some Principle Behind the Style', 221; arukin, 'Review: "he Muic of Alexander Scriabin", Jam e M. Baker & "Scriabin: Artit and Mytic", Bori de Schloezer', Guenther, rarvam emoua' "Gannoniia Sk riabina": A ramlation and Critical Col//menlary, 196. G uenther alo find 'mitake', ee 118. I 57 Harrion, Har7llonir Function in Chrvmatit i\1uic: A Renewed 11alil heory and an A ccount qf It Preredent, ISH Guenther, Varvam emoua' "Garmoniia Sk riabina": A ramlation and C1itical Co/1111/elllm)', Ibid., [bid., [bid., 49. Choprcr hree 96

100 table element." 162 hi i urely all about tonal ( -7 ) attraction and tenion tructure. Eentially, ernova' work i not alway compatible with the objective to which it lay claim. ernova and Polytonality Nonethele, without being illuminating in itelf, ernova' ytem hed at leat ome light on the variou tenion that operate upon a chord in a ingle vertical moment. Jame Baker' critique of ernova attempt to expoe her ytem a a crude form of 'polytonality'. hi ame polytonality ha proved a thorny iue in recent time, and require a heavy pruning before it can be ueful to Skryabin tudie. Conidered by Baker to be an auditory impoibility, it i imply dimied out-of-hand, for which Richard arukin offer reproof. 163 Polytonality i a particular feature of Ruian analyi, depite being dicredited by Anglo-American theorit, but it i increaingly coming into vogue through the work of aniel Harrion. 164 It eem that the iue of polytonality (or bitonality) ha remained contentiou ince the term wa accepted into muicological parlance, popularied through ariu Milhaud' 1923 eay 'Polytonality and Atonality' in Revue Muicale which lited numerou way of uperimpoing chord and melodie. Peter Kaminky offer an excellent introduction to problem of polytonality in a recent iue of Muic heory Spectmm, citing Jame Baker' complaint- itelf an echo of Milton Babbitt and Paul Hindemith- that it i impoible for a litener to perceive two tonic at the ame time. Kaminky take the oppoite view and, without citing pecific ource, he repat, "Several publihed tudie argue that a litener i capable of attending to two imultaneou pitch centre." 165 But moving from a cognitive to a compoitional viewpoint, Baker admit that it "doe eem to reflect the way that certain compoer put their muic together." 166 hat aid, polytonality i conidered a rather bae form of compoition. According to aniel Harrion, Pieter van den oorn call polytonal compoition one of the "horror of the muical imagination." 167 Harrion himelf declare that bitonality ha lot cache through it ue a a 'cheap parlour trick': "Write ome ditty in one key, write the accompaniment in another, and voila- omething that ound a bad a the mot tudiouly atonal utterance of a real, hard working compoer." 168 Nonethele, the tak of revitaliing the concept i long under way. Kaminky embarked on uch a journey by interrogating polytonality' detractor, dimantling each objection in turn. Argument againt Milhaud' original propoition of polytonality, a Kaminky ee it, focu on (1) the equal weight of the uperimpoed element, with little regard for the 162 Ibid., arukin, 'Review: "he 1\ {uic of Alexander Scriabin", Jame M. Baker & "Scriabin: Artit and Mytic", Bori de Schloezer'. 164 Harrion, 'Bitonality, Pentatonicim, and iatonicim in a Work by Milhaud'. 165 Peter Kaminky, 'Ravel' Late Muic and the Problem of 'Polytonality", i'vf.uic heoij' Spectrum (2004), Ibid. 167 Harrion, 'Bitonality, Pentatonicim, and iatonicim in a Work by Milhaud', Ibid., Chapter hree 97

101 prominence of the ba of a given texture, and (2) the fact that many intance of bitonality can be analytically ubumed by other tonal ytem. Anwering the firt objection, Kaminky how how a compoer create intereting dialectical relationhip between uperimpoed onoritie, giving varying degree of emphai to either the treble or the ba. He break apart the texture of Ravel' etting of Mallarme' S urgi de Ia croupe et du bond, to find a ba centred around E~ and violin harmonic in the key of that vie for prominence. Emphai perpetually hift but i largely betowed upon the treble voice. hi whole cene i likened to Mallarme' text, telling of the two mouth of a chimera (a monter with incongruou part): "o convey thee highly eoteric image, Ravel create timbral and tonal line which retain their incongruity." 169 Kaminky preent two intereting analye of the melodic line viewed through the prim of both key E~ and, interpreting many of the melodic ' note' a 'unreolved appoggiatura' in the E~ key. Although the analyi i not extenive, and top hort of codifying the relationhip between the accompanying chord a they are preented yntactically, hi melodic analyi convincingly mediate two ditant key. However, if Kaminky had followed hi line of argument to it concluion, he may have found the 'leading note' qualitie of the pitch in E~ to undermine hi reading. he upper teitura which, a he ugget, contain pure element in the key of, i made ubervient to it harmonic grounding in E~. Neverthele he map a new way of reconciling eemingly diparate key. Kaminky goe ome way toward howing how our perception of bitonality can be orientated through another Ravel analyi, tlu time from the eacup and the eapot duet from L 'Enfant et le Sortilege. He how how two key can be unfolded dialogically, one after the other, before there i any uperimpoition of key per e. Polymodality i diplayed once again through programmatic portrayal of race, the Chinee character being given the black pentatonic note. Similar racial depiction are offered in the ong "Beware of the White People", in which Kanlinky further how how battle for pr'fcedence can be played-out in narrative form. At one point, the ba take total priority by ubunling the vocal line, removing it from the control of the piano' treble regiter. In another analyi of Blue, Kaminky how how cadencing can alo affect narrative in which 'pronlinence of key' i an iue. he left-hand of the piano undermine the control of the right-hand, working itelf forcefully into the dialogue. Ravel' polytonal practice lead Kaminky to two finding: (1) programmatic jutification underline many intance of polytonality, and (2) polytonal key compete in dialogic power truggle. lu uccefully refute the firt objection to polytonality that Kaminky cite. 16 'J Kaminky, 'Ravel' Late Muic and the Problem of 'Polytonality", 246. Chapter hree 98

102 In anwer to polytonality' econd criticim- that it i alway upplanted by other tonal ytem aniel Harrion examine the root of bitonality. hi criticim wa foregrounded by analye of Stravinky' Petmhka chord, which famouly uperimpoed C and F~ chord. Arthur Berger trace the chord to Stravinky' octatonicim, thu over-riding bitonal analye. 170 Harrion avoid thi pitfall by uing Fortean et theory to explore the deployment of bitonal chord and mode. In hi analye of Milhaud, he explore the frequent cyclic t5 tranpoition of variou et (3-9, 4-23, 5-35, 6-32, 7-35, 8-23, 9-9), howing how element of thee et, with varying degree of tonal aociation, are heard vertically in the ditantly related interval of minor econd, minor third and tritone. He analye paage howing the revere of thoe procedure found by Kaminky in Ravel; he find that moment of bitonal intenity become le intene a the diparate t5 cycle converge toward common tone or ingle et in Milhaud' piece. hrough the merger of the 5-cycle et, Milhaud converge phrae toward common point, "the zone of eparation between cluter of erie fragment decreae. If the et are ufficiently large, the zone diappear, and from a pitch cla perpective alone (that i, not attending to intrumentation of melodic preentation), bitonality eentially diappear". 171 Unlike Berger' analyi of Stravinky, in which bitonality i explained through an 'other' tonal ytem (the octatonic cale), Harrion give a detailed expoition of how thee 'other' ytem (often pentatonic) work within a bitonal context. hi uccefully turn the econd argument againt polytonality on it head. It eem that work on bitonality i motly aociated with French muic, particularly with Kaminky' focu on Le Six. But work on ebuy ha been le fruitful. epite the fact that many of ebuy' harmonie are contructed of ninth, eleventh and thirteenth chord, which contain element of uperimpoed triad, Boyd Pomeroy recently aerted, "ebuy' later muic continued for the mot part to be governed not only by triadic cononance but (nearly alway) by the principle of monotonality." 172 However, monotonality i not uncomplicated. Harald Kreb' article explore the phenomenon of 'directional tonality' in the 19'h century, in which a piece begin and end in a different key; in uch cae the final key i hown to be at work throughout the piece - a form of 'monotonality'. 173 Pomeroy cat ebuy' 'monotonality' in thi light by illutrating the interplay of twin tonic. He look at directional tonality in Chopin, characteriing it by third relation; he alo look at Nielen' work, finding bitonal fifth relation, further howing how mono-directional tonality i generally aociated with the ue of a common tone. Pomeroy ditance himelf from iue of bitonality, citing Felix Saltzer a an opponent to bitonal theorie. hu Pomeroy dicue a bitonality of a different nature- a diachronic phenomenon rather than a ynchronic one. He talk of 'tonal 170 Berger, 'Problem of Pitch Organization in Stravinky'. 171 Harrion, 'Bitonality, Pentatonicim, and iatonicim in a Work by Milhaud', Boyd Pomeroy, 'ale of wo onic: irectional onality in ebuy' Orchetral.Muic', M11ic heory Speclmm (2004). 17 -l Harald Kreb, 'Alternative to Monotonality in Early Nineteenth-Century l'vluic', }o11ma/ o/muir heory 25/1 (1981). 99 Chapter hree

103 pairing' from Harald Kreb, a ituation where two key compete along a linear axi without having any pecific ene of direction. ebuy, like Nielen, eem to ue fifth relationhip; Pomeroy cite La Mer and SimiS a example. But hi central analyi take G~m.r and the directional tonality off minor to AP, but expoe the emergence of a third tonic (), categoried a an anti-goal. He doe however attempt to how how thee two directional tonic vertically coincide at time. For example, he explore ebuy' predilection for 'clouding' ba pedal through over-impoing the 'other' tonic; Ondine i hi primary example. And in the third movement of Iberia, hi analyi draw explicitly cloer to bitonality, when he how how material become fixed to pecific key (C and G), which then cro-over. Chromatic procedure begin to creep into the texture and eventually reach an impa.r.re, where the tonic i then reaerted through "bmte force". Returning to my tudie of polytonality in Skryabin' muic we read that ernova, and certainly Roy Guenther, adopt it unreervedly. ernova regarded the contemporary model of Skryabin analyi drawn by ickenmann a 'nai:ve', and thi wa echoed by Guenther who claimed, "He applie only a mechanical calculation to the vertical arrangement of note, not upecting that it i imply the uperimpoition of harmony above a pedal (like a poly functional combination"). 174 But neither of thee two theorit champion the caue of bitonality explicitly; it i often taken a a Ruian 'given'. A I will dicu later, another Ruian progenitor of bitonal analyi i Viktor Belyayev who, in 1972, undertook a Riemannian functional analyi of Skryabin' Poem ofec.rta.ry, in which chord function are vertically compounded. 175 One mut not dicount the quirkine of the Ruian analytical tradition here; the playful Yavorky, for intance, analye the firt part of Beethoven' Appa.r.rionata a being in the key of [, major intead off minor. 176 hi open approach to 'key finding' i omething that I alo wih to retain in my analye, which largely trancend the concept of 'key'. hrough drive ana(y.ri.r, two new route emerge which lead bitonality back into the analytical arena. Firtly, I never claim that two key operate at the ame time or are meant to be ditinguihed. Rather, I ugget that, through the ue of dominant drive, many key are imultaneouly indicated in variou combination. But unlike ernova, I do not imply that Skryabin conciouly wrote in two key at once; I imply claim that, through the dominant driven complexity of hi vertical onoritie, certain implication arie that may or may not be realied in the muical narrative. Secondly, I claim that thee drive-baed implication work dialectically within other ytem- octatonic, whole-tone, mytic or tonal - and are not diplaced by them Guenther, Varoara emova' "Garmoniia S kriabina": A ranlation and Cntical Commentary, Belyayev, Muorgkii, Skryabin, Stmvimkii. 176 Guenther, Varvara emova' "Gmmoniia Skriabina": A ramlation and Gitica/ Commentary, 19. Chapter hree 100

104 Critique of the 'ritone Link' ernova' framework i imply too retrictive. Skryabin certainly doe exploit the hared tritone between tritonally oppoed dominant-eventh chord, but thi i only one technique of many. he project of opening up thi binary oppoition occupie a imilar poition to that of Gille eleuze who formulated hi anti-dialectic in antipathy to the dialectical negation that forge oppoitional relationhip at the expene of infinite one. 177 In Skryabin' multi-dimenional harmony, conflict occur both patially and temporally where ernova find only temporally articulated tritone axe. A I oon explore, there are many other moment in Skryabin' repertoire where freer drive relationhip are preent. he aim of thi tudy i certainly not to dicredit ernova' 'tritone link' (my a-rivfj, rather to expoe the duality of the 'dual dominant' a one ingle relationhip amongt other, and to deny the organiing power that ernova attribute to it. For example, 1- RIVES quite often relate by a tritone, proving that Skryabin doe not rely excluively on the 'compromied' (diminihed) dominant form to lock drive together; they can be ued in their pure tate. In Poem, Op. 63, Etrangeti, 1- RIVES alternate in mm A each drive ocillate between m and E, and then Al1/, o doe the ba, which trengthen the alternation proce. hi whole paage lend credence to ernova' extenion of Yavorky' 'ual Modality', but weaken the pecificity of her 'tritone link'- after m. 9 there i not a ingle a-rive in thi paage that i not alo a 1- RIVE until m. 15: m-- a- - 1 ~.... ~~...--:; _ A.JJ.i..#~ I=.? ~ olooo!!.-..i!!!!!~ J rr ~ J ~~~ / II Jl!JJ#~~ ~~JJJ 7 - IV G Lambert,' eleuze and he "ialectic" (A.K.A. 1\larx and Hegel)', Strategie: Joumal of heory, Culture & Politic 15/ 1 (2002); Lutz Ellrich, 'Negativity and ifference: On Gille eleuze' Criticim of ialectic', MLN 111 / 3 ( 1996). 17 M M. 19 doe uee,, G~, A"- an a - RII' E - but the A# reolve to Ba an appoggiatura. 101 Chapter hree

105 ~l "' -- ~ - ~ I " " t.l F"'"' ~ ~. ~ - t ~ ~ - "'~~ I 7 ~.,...,.~~ /...,-; 7 ~-~ - P#----- I FIGURE 3-16(A): P OEM, ERANGEE, O P. 63, NO.2, MM :2 9: :2 11 : :2 13: :2 14: :2 15:3 G c F F IGURE 3-16(B) : POEM, ERANGEE, O P. 63, NO.2, MM RVE J\ NALYSIS Chapter hree 102

106 And there are further intance of variable, fluctuating tritone-related drive, ordered in a much looer way than ernova propoe. I examine Sonata no. 6 in Chapter 4, exploring the tritone' active organiing potential at the work' background. But even in thi preliminary chapter the onata how foreground manifetation of 'dual modality'. In the following illutration from mm , tritone drive on BP/E ~ P/G dicharge onto GP. In m. 25 and 26 Skryabin employ!- RIVES> but in m. 27 an a- RIVE on G challenge thi relationhip with the initiation of the diminihed fifth (P) in the ba (though thi doe rie to an EPP ()) a in the preceding meaure. un peu plu& lent,.. /'". ~I ~ ~ " l),... ~ ~ 1m --- r... (J ~~-... ~ I ~ ~ ~~ ~,. [,l,t "~ f mp =::::::= ---- I... I -~ -.;;;;::::! I FrcuRE 3-17(A): So AI\ No.6, MM Chapter hree 103

107 E A G c F m a A~ l> Gl> FIGURE 3-17(B): SONAA NO.6, MM RIVEANALYSIS C- RI VES thu challenge otenibly immutable bodie of a- RI VE.<; Such i the cae in mm , where a!- R.IVE alternate between A and El> drive. FIGURE 3-18(A): SONAA NO. 6, i\rnl A G c F FI GU RE3-18(R):SO r\ ' L \ 0. 6,Mt--~ RIV E A 1 ALYSIS Chap1 er hree 104

108 My tandard practice in dn.ve anajyi i to indicate the tronget drive, o that if a!1s i truck together with a qs, the flattened verion hould be pecified. However, there are time when the integration of qs and!1s become a feature. hi i perhap another problem with drive anajyi, which can buckle under the weight of multiple drive that indicate the ame dicharge chord: one drive i elected at the expene of other, often the more recogniable and normalied eventh chord. Nonethele, cratching beneath the urface reveal that ernova' 'tritone link' i not uch an irreducible feature of Skryabin' harmony. And thi i deeply engrained in the fabric of Sonata no. 6. In the following climactic intance from m. 260, tritone related drive that articulate G and C~ are dicernible a an a- RIVE and a!- RJ VE: FIGURE 3-19(A): SONAA 0. 6, M FIG URE 3-19(B): SON.'\A 0. 6, M. 260-RfVE ANALYSIS And in mm the configuration that I examined in reference to the i- RIVE in Chapter 2 i located, it drive tritonally related and eparated by a fourth (or a minor econd depending on which pole o f the tritone i counted). Of coure the i- RJ VE i eentially half an a- RJVE : a watered-down form of the 'tritone link'. Chapter hree 105

109 FIGURE 3-20(A): SONAA NO. 6, MM F# B E A G c F FIGURE 3-20(B): SONr\r\ NO. 6, Mlvl RIV E ANALYSIS hee vertical relationhip are alo horizontalied into a 1- RIVE on F# and a triad on C in mm : a much le ymmetrical configuration than the 'tritone link'. And it i in thee free tritone relationhip that ernova' rigorou analytical theory, baed on the t6 elf-replicating Frencb ixtb chord, begin to crumble. In thi way the famou 7t!]Siic chord can be unmaked and the myth behind it decontructed. Skryabin mentioned the chord only in relation to Prometheu, Op.60- hi fifth ymphony- applying the obriguet, 'the chord of the Pleroma'. 179 It wa hi aociate Leonid Sabaneyev who applied it to other 179 arukin, 'Scriabin and the Superhuman: A i\iillennial Eay', 341. Chapter hree 106

110 work uch a the eventh onata. 180 Literature on Skryabin quickly became awah with loquaciou account of thi mot infamou chord. 181 But to drive analyi, the chord i a configuration of drive: F# B E A G c FIGURE 3-21: HE MYJICCl-IOR- RrvE A ALYSIS hi organiation - a- RIVES on C/F# with a b- RIVE on -give priority to the tronget drive form, but weaker drive are at work within. he b- RIVE on include the Bf, pitch, acting a the enharmonic augmented fifth, but the A i alo a naturalied fifth and thu form a complete 1- RIVE hi drive on relate either a a major third to the drive on F# or a a whole-tone to the drive on C, and I will henceforth label thi 'the "!J'Stic configuration'. hi configuration of drive occur in many place, and with different drive 'intenitie', crying out for the mytic chord to be expoed a a hypotatiation, a Lyotardian dipoitif. A previou example from Sonata no. 6 (fig. 3-2), which hould require no further explanation, erve to remind u that thee intenifying drive act a variant of mytic intenity whilt preerving the 1trytic configuration. FIGURJ:". 3-22(A): SONr\I\ NO.6, MM: t tlo Leonid Sabaneyev, 'he Seventh Piano Sonata, Op.64', Mu:;:yka ~Peek[y 64 ( 1912). trt Space will not be given to a ummary of uch account in thi thei, and the reader i directed toward the excellent ummary provided in Kevin Peacock' diertation: Kenneth John Peacock, Alexander SCiiabin'.r Pmmethem: Philoophy and Stmrture (Ph, l\lichigan: Univerity of Michigan, 1976), 129 ff. Chapter hree 107

111 FIGURE 3-22(B): SONAA NO. 6, MM RJVE ANALYSIS G lancing back at an earlier citation from Album leaf Op. 45, no. 1 (ee fig.3-11, a, band c) reveal the ame principle. ritonally related drive on Band Fin m. 6 equeter a drive on G arranged a a /-RIVE rather than a b- RIVE And it i thi 'conventional' dominant intenity that i elected to reolve firt onto it peudo-tonic of C. H ere i the entire core and drive afla!ji graph of Prelude, Op. 7 4, no. 1: I Chapter hree 108

112 FIGURE 3-23(A): PRELUE, Or. 74, NO I I C# F# B E A G c F Ab FIGURE 3-23(B): PRELUE, Or. 74, NO.1 -IUVE ANJ\LYSIS Chapter hree 109

113 Notice how drive are initially arranged in minor third interval i.e. C, A, F#, #. But in m. 10 the "!)IS!ic configuration materialie, nurturing (-related tritone-drive rather than (or a well a) a- RIVE However, in m. 11, an a- RIVE variant of thee ame element appear, and not until the very final chord are they calibrated into a mytic chord in it 'home' configuration. 181 Sometime the intenitie of the nrytic configuration uffer only minor adjutment. In m. 5 of Caree dan ee, Op. 57, the b- RIVE element i diluted into an anaemic i- RIVE Contextually thi i- RIVE on C and the a- RJVE on B~ are the dicharge chord of previou drive on G and F (a k- RIVE and an f RJvJ And thee continue to dicharge through the appropriate elem ent of the mytic chord. fl ~~ ~.r I., 3 I~ ~ t=::l I' r I t=::l I' r I pp~: poi ===- ~~: p:: f:." tl 5 I z fj,..._ 8., I"' "1 7 ~ ~>1 I ~ 1\ - { ~ l:::::::::::j t' r I t' 'I 'I bq::: pj ~ J.. I I FIGURE 3-24(A): CARESSE ANSEE, OP. 57, tvlm FIGURE 3-24(B): CARESSE ANSEE, OP. 57, lvlm IUVE AN LYSIS 182 A full mytic chord however, would have an addi tional ' \ 'rather than a G here. he more uual,\ pitch bolter the 7 element, whilt the G reinforce the C 7 element. Chapter hree 110

114 Such adjutment, though undeniably minor, how the mytic chord to be a product of drive interaction and diffuion whoe intenitie perpetually fluctuate. ernova' work i valuable a it reformulate ome of Skryabin' drive procee, but her ytem elect the individual at the expene of the multiplicity. rive and Stylitic Change Skryabin' control of muical drive changed a hi compoitional tyle developed. Cataloguing hi baic practice and dividing them to tylitic period of compoition will be my concern in the remaining part of thi chapter, a I focu on Skryabin' 'middle' to 'late' repertory. It i generally recognied that Skryabin' 'middle' period encapulate the time immediately following the termination of hi teaching dutie at the Mocow conervatoire in he inception of the 'late' period i omewhat more equivocal. 183 he fact that author do not agree about the date of a late tyle i tetament to the eamle metamorphoi that occurred. he 'atonal' character of Prometheu, Op. 60, eem to qualify it a a waterhed work, and even though the preceding opue contain equally progreive element, I generally ituate thi work at the frontier between the two tylitic world. However, in the following characteriation I elect work that how extreme of tylitic change, wherever they appeared chronologically. (1) Middle endencie ( ) One of the prevailing drive 'viciitude' of the middle-period i the propenity for intene complexe to defer to o ne particularly trong drive. he proce i reminicent of Herbert Spencer' 'urvival of the fittet', a doctrine that Skryabin mut have known well; the tronger drive, after over-turning the weaker one, run it coure along a line of fifth. 184 Many middle-period Skryabin piece ue thi template. Feuillet d'a/bum, Op. 45, no. 1, which ha illuminated many drive operation in the invetigation thu far, can again exemplify thi phenomenon. IR3 Faubion Bower provide convincing periodiation (baed more biographically than muicall y), dividing Skcyabin' career into 'beginning life' ( ), 'middle year' ( ) and 'later year' ( ). 1 1!4 he bookhelf in Skcyabin' Mocow flat contain copie of Spencer' work. 111 Chapter hree

115 FIGURE 3-25(A): FEUILLE 'ALBUM, i'"!m II FIGURE 3-25(B): FEUILLE 'ALBUM, MM RIVE AN1\ LYSIS A I examined with regard to the 'delayed-double-barreled bitonal dicharge', a trong undercurrent of dicharge in mm. 6-9 i crucial to the etablihment of the fifth-baed dicharge a the muical currency. hi crytallied in mm where a ba-articulated erie of dicharge tretche from a I-RIVE on A through to a major triad on EP. hi particular line i le mechanically equential than other middle-period example: a I-RIVE -7 a-rjve -7 /-RJVE -7 1-RJVE -7 l-rjve -7 /-RJVE -7 triad. hi concatenation harbour no repetition or equence of drive type. he difference between thi and other middle-period paradigm i analogou to the difference between 'through-compoed' and 'trophic' ong-form. In Carwe anie the cycle of fifth i baed on 'trophic' equentially repetitiou drive pattern, a I will how later in the chapter. hi aid, a 'through-compoed' cycle alo weave it way into the Etude, Op. 56, no. 4- analyed in Chapter 1. (2) Late endencie ( ) A prevailing characteritic of Skryabin' latet compoition i the intene vertical coagulation of drive into vicou onoritie. Wherea previouly the drive element of a chord revealed themelve to a litener by unfolding their apect individually, they now become dene vortexe. he drive, which could previouly be reaonably proceed by a litener, now become o entwined that, at time, drive 112 Chapter luce

116 ana!ji can eem redundant. Here i the opening of Sonata no. 6, Op. 62, which temporarily unfold a ingular germinal onority: FIGURE 3-26(A): So r\r\ NO.6, MM c~ II 12 F~ B E FIGURE 3-26(B): SONt\J\ NO.6 - RIV E ANALYSIS Chapter hree 113

117 he opening chord in quetion i not entirely new. iregarding the anacrui reveal the RomatJtic 'dominant minor ninth', with the tandard root now commuted to the melody. But thi chord contain extra 'cruhed no te'- acciaccatura that add novelty to the already queer onority. he flrt remarkable point i the combination of tritone-related G and l:> drive a full dominant eventh chord (/- 0 R 1 vd he q fifth of both chord create a thick onority, producing emitone 'clahe' (unlike ernova' 'tritone link') between the q and 1:> flfth; the pitch (S of the G 7 /-RivtU clahe with ~ 7 ~ 7 ~ 7 ~ the l:> (C~- 1:>5 of the G a-rive and I of the l:> a-rivj and the pitch G (1:>5 of the l:> a-rive and I of the G 7 /-RJvtU clahe with the AI:> (S of the l:> 7!-R 1 vj. he chord can be broken apart into it contituent!-rives on G, l:> and Bl:>. (bp) (g) f b f ap d FIGURE 3-26(C): BREAKOWN OF OPE ING SONORI1Y OF So AA NO. 6. (parenthee denote anacru c) Of coure the G and l:> drive are only two of many. he -F-AI:>-B cell betray a 'diminihed eventh' element. Although thi naturally flnd four way of dicharging itelf, the implet explanation i that it i a 'dominant minor ninth' on either G or l:>. he anacrui Bl:> alo create a 1-IUVE on Bl>, and we mut remember that ba G wa alo a mere anacrui. hee anacrue are omitted in the following meaure, but in the opening they produce a cluter of three ditinct minor third related drive: G,!>, Bl:>. Naturally, a compoer could not articulate uch drive in a ingle onority and reaonably expect a litener to ditinguih them. But the point of drive ana!yi i that whilt they are preented ynchronouly- en mae- th y are ubequently ingled out in the temporal flow. 185 Skryabin' French 185 he parallel between thi muical phenomenon and the pychological manoeuvre from drive to deire hould now be obviou. Chapter hree 114

118 performance indication tjrylirieux, com entre hold a upplementary function. 'Concentrated' ugget that the drive-economy i in a pure tate, objective, unmediated and raw. 186 'Myteriou'- a ubjective valuation- pertain to interpretation. he mytery i olved a the piece unfold. M. 2 unwrap a chord progreion that outlay the variou element of the opening concentre chord individually. Initially a tripped-down variant of the opening chord acculturate an alien Aq. hi pitch act a a diplaced appoggiatura to the following Bl/ chord, which i another diaembled verion of the concmtre chord, each pitch of the ubequent chord retained in the original regiter. hu it eem that chordal difference i created in thee meaure through the omiion of certain pitche. he firt onority of m. 3 i a imilarly pure G 7 chord though, melodically, thi reache to a C#. hi upper pitch engender a pair of a- 0 ruves on C# and G. Becaue it comprie both an a- 0 ruve and a I-RIVE> the drive on G i more enduring, but when the G 'reolve' to an AP in the meaure' cloing geture, the drive on C# (P) wield more authority. hi i far from concluive however, and the two drive vie for attention throughout the onata. he following meaure queeze even more juice from the opening concentre chord. he proce by which the middle-ba A 'reolve' to an AP in m. 2 i pread acro mm. 4-8, the chord remaining in a limbo-like tate, vacillating between A and AP. he ba figure here betray a developing rhythmic character. hi G 7 chord' pitch (in the ba) i delayed until it i revealed almot ynchronouly with the upper C#, meaning that #4 and qs ound together. Again thi i a refraction of the concentre chord. Notice alo how the G, which wa previouly an anacrui, i now a full-bodied ba pitch. M. 10 then tranpoe m. 9 at t2 to oudi.ne the BP 7 drive and a new E 7 drive, again related to the primary drive of G, P and BP by a minor third. hee minor third relation break down (or are perhap paradoxically boltered) in m. 14 when Skryabin introduce a /-RIVE on GP. hi drive prepare the return of the opening concentre onority, deputiing a it dominant. hu the opening onority' P element become more apparent in it ubequent formation. he uphot of thi analyi i that, in Skryabin' late tyle, onoritie become o dene that drive ana!ji eem pointle, until moment like thi tep forward. At uch time Skryabin break onoritie into their contituent drive, temporally laying them out and nurturing them individually until the potential of each i fulfilled. Each drive i enhrined individually o that, once reaembled into a ingle complex, it role in the polytonal drive-body i reaured. he example alo prove that, depite a trictly octatonic urface, -7 dicharge propagate with urpriing frequency and can help u to recognie important drive that are otherwie buried in myteriou harmonie.!86 In drive theory thi correpond to the Lacanian 'Real'. Chapter hree 115

119 Complete 'rive Analyi': eir and Caree danee, Op. 57 Mindful that I have hitherto analyed only nippet of piece and have trayed away from the culturalphiloophical dicoure which underpin thi drive theory, I will conider two work bearing the inviting tide eir and Caree danie. he piece comprie the 2 Marceaux, Op. 57, compoed in 1908, hordy after the coloal Poem ofectay, O p. 54. Skryabin decribed thee piece a " new way o f making love" and they function ymbiotically for a variety of reaon. 187 he mot triking reaon i that both piece refract the ame opening chord. rilaneque in nature, thi chord contain both a perfect fourth and an augmented fourth. It i the upper element of Skryabin' mytic chord. FIGURE 3-27: (A) i IE 0PEN I G CHOR O F ESRAN CARESSE ANSEE; (B) SKRY,\BIN'S MYSIC CHOR. An analytical naphot of each piece' tructural framework will help naviga te the muic, before I begin to explore the multivalent drive-energie flowing from the opening chord. eir conit o f a mere 14 meaure and contain a dene network of internal repetition. tj 4 ~ ~. 5 :::._ r::i IIJ.J ~.J u j, ~~ l>~ J ~: ;-... = 1l~~: :;J. ~~ l>~ ~ ~~~:.J ~: ;-...= ~ ~~ p Bower, Saiabin: A Biography 2, 163. Chapter hree 11 6

120 ll 9 FPt=; ~H..,Lf+.- ~10 ~;.-1!.. -fp-.. ~11 ~;.,.... ll.~i ~I I I I I I poco crec. h h ~ - - I '...j -1 : 8>Xr , Ill~. 2. b.- h.- p_j J P~ 1 3q~ HJ ~ #: ~ ::: 14 I r I I p. IR. 2. ll b.-. h ::: : n-.... I I "t v 9: pg.).. b.j. - I 11' FIGURE 3-28(A): ESIR, Or. 57 he opening meaure i repeated and echoed by a cadence-like figure in mm. 3-4 (m.s repeat m. 4). It tranpire that the piece i built from a regularly phraed tranpoition deign. Such regular phraing i a alient feature of Skryabin' middle and late tyle, but wherea Skryabin' later work tend to bae their tranpoition cheme trictly on minor third and tritone (t3, t6 and t9), 188 eir employ perfect-fourth and fifth (ts and t7) pattern. And thu we hear a verio n of mm. 1-5 with a modified tranpoition cheme in mm However, m. 6 (equivalent tom. 1) i tranpoed at t7, wherea m. 7 (equivalent tom. 2) i preented at ts. he reulting cadence i then expanded and emphaied in mm What emerge i a very concie cheme, which I repreent in thi grid-like tructure:!88 hi obetvation i made by many, but i a particular concern of Jame Baker. Baker, be M11ic ojaiexa11der Sniabin, 17 ff. A thorough dicuion of imilar repetition / phraing technique in relation to Ruian muical tyle can be found in arukin, 'Review: "he l\ Iuic of Alexander Scriabin", Jame M. Baker & "Scriabin: Artit and l\iytic", Bori de Schloezer'. 117 Chapter hree

121 mm. 1-5: mm. 6-10: mm : X X X 17,; Coda X y,; y z 6 "\. "" FIGURE 3-28(B): MOIVIC I RANSPOSIION SCHEME OF ESIR A imilarly conventional tructure govern the longer Caree danie, where the baic unit i a twomeaure phrae, chromatically repeated a emi-tone lower. hee otenible 'block' of tranpoed material actually connect extremely fluidly to preent intricate, decending melodic line. 7 FIGURE 3-29(A): OPE lng MEASURES OF CARESSE ANSEE Section A mm. 1-8: p' ' p 1 2 p 1-} [two meaure unit] mm. 9-16: p 15 p '., Po p" / -} I-I Section B mm : q(p) q q r [four meaure unit] mm : 1-2 t-5 q q q '4 q [11110 meaure unit] mm : 1 2,_., f.) q q q q Reprie mm : p'5 p'., p'j mm : Coda FIGURE 3-29(B): MOlVlC I RA SPOSlION SCHEME I CARESSE ANSEE Both piece bear a highly traditional phrae tructure, whoe conventionality i trancended only by Skryabin' harmonic language. Both piece alo circumnavigate the key of C major, crytalliing in the final cadence of Caree danie. But thi analyi i baed on Skryabin' propenity to open piece with trange, 'mytical' harmonie that evade clear analyi. Such opening onoritie are embryonic and contain the harmonic eed that will organically grow into clearly defined branche of tonality. Such metaphor of organic growth are often applied to Skryabin' muic, particularly in the Ruian literature. Belyayev dicue a paage in the Poem ojecta.ry where the theme develop in 'bitter weet wave': "In thi way, the embryo from which the entire compoition develop i preented at the very outet. hi idea i developed in the coure of the expoition and development; it triumph in the Chapter hree 118

122 return of main ection and reign upreme in the concluding paage of the coda." 189 Of coure in the Freudian tradition, my theory of 'drive' i reinforced, and the link between the 'drive ~d eire' trajectory and the 'embryo ~ growth' trajectory will be explored in the light of Skryabin' philoophy in the Chapter 5-7. Navigating the piece, both forward and backward, it become poible to trace it entire tonal plan back to the opening onority. Becaue o f the plurality of it drive, the chord reit interpretation according to a ingle function. But thi drive conflict, etablihed at the opening of the piece, become unfolded acro the work, propelled by a earch for tonal clarity. Now, becaue of hared harmonic practice, thee two miniature - eir and Caree danee- could be heard a two interconnected movement of a ingle work. 190 In thi repect, the earch for tonal clarity run through both piece. A litener tart to home in on pecific teleological tonal pattern (typically cycle of fifth), divergent drive approach muical deire, becoming ever more object-orientated. In the following analyi I will (a) chematie and explore, ucceively, the different drive which o perate in the opening chord and (b) examine how Skryabin tranform thi drive-baed mechanim into a deire-baed mechanim. he opening chord of both piece could be categoried in variou conventional way a either the upper egment of the mytic chord (a explained earlier) or a a 'dominant thirteenth' with an abent ba. However, uch rubric inform very little about how the chord function. My approach attempt to open path toward multi-dimenional (and arguably mutually upporting) interpretation on the bai of Skryabin' aethetic. Before analying how the variou drive operate acro the tructure of the Op. 57 Morceaux, I firt introduce the dramati peronae of thi muical drama: the individual drive that function in Skryabin' opening moment. After introducing each drive in turn, I examine their function in the piece' overall tructure. i. he mot fimdamental dritje: the i-orive One would hy away from interpreting tl1e opening chord a a dominant eventh on merely on the bai of the left-hand' C-F~ i- 0 rur / E Ill? "aig'im o6pa30m, 3apOAblW pa3bfiii 11 IJCe ro np0113beaehii11 AaH pt<e BO BC)'nAeHIIH, ~ 1 Ae11 KOOporo pa3bhbaec11 B XOAaX 3KCn03Hlllll1 H pa3pa60k II, no6e)i(aae B B03BpaweH IIH K raabhoh nap11l1 I-1 uapii B 3aiVHOYeH HII KOAb!." Belyayev, Muorgkii, Skryabin, Stravim kii, It eem that from Skryabin' earliet day he conceived miniature within an o pu et to be related, particularly by key. See Mikhail Yanovitky, 'Scriabin Etude, Op.B a a Set', }o11mal of the SCJiabin Sociery of A1Nerica 7/1 (2002). 119 Chapter rhrec

123 EXr\MPLE 3-30: OPENING OF ESIR Neverthele, thi interpretation i retropectively validated when the tritone dicharge onto the enuing, much purer, dominant-eventh on G. Indeed, interpreting the upper C~ in the 'melodic line' a an appoggiatura to, yield a complete I-RIVE on the econd beat. What could be more natural than to interpret the previou tritone a the i-rive embodiment of a 7 tructure? We mut remember that carefully prepared functioned cadence are not the harmonic currency; rather, I explore the drive that pulate beneath the harmonic urface, libidinal energy that ooze through crack and fiure in the larger tonal tructure. And yet thee drive acquire ignificance a the muic unfold, haping and organiing the macro- tructure, a I will how. hi G 7 chord obviouly concretie the preceding 7 element. But it alo, in an act of elf-negation, remove itelf a a teleological goalpot, becoming an implicit dominant-eventh chord of a new tonic, C. he chord' harmonic function can hardly be confined by the label 'V'; rather, the 7 implication become relegated to 'V ofv'. We are puhed backward along a cycle of fifth; the tonic reolution i lippery and eluive. But one canno t accept that the C-F~ i- 0 RivE embodie a 7 chord without conceding that it could equally repreent an Al1 7 chord, pelled a C-GP. Although thi implication i not immediately realied in thi opening (unle I were to interpret the C/F ~ ~ G move a a peudo-gmnatl ixth manoeuvre in C major), the idea i explored in m. 8 a Skryabin temporarily modulate to the key of IJ. hi i clarified in Caree danie, where the identical chord immediately move to a peudo-ai1 7 chord (I- 0 R 1 vj, the ba 'C' regitrally tranferred into the upper melody. FIGURE 3-31: OPEN! G OF CARESSE ANSEE hu, rather than dicharging the harmony directly into!l, Skryabin take trouble to poition carefully the opening drive a Al1 7 By allowing the tritone drive to become orientated in thi bar, Skryabin preent a continuou drive-motion baed on thickening intenitie. Chapter hree 120

124 ii. a-rwes & the 'French Sixth' \Vhen eir open, one can interpret the alto Ba a ritaneque accented dionance that reolve to A~ (B!J). From thi tandpoint, a Chopinegue, 'exed-up' V 7 chord on the root of C wi th a diminihed fifth- an a-rwe- preent itelf. Applying the 'tritone link' to the C 7 ' 5 chord yield an Ff' 5, thu preenting a drive toward an alternative tonic of B. But an idioyncray of the a-rive i it identity a a French ixth chord. In the preent context, once again taking the A~ a more important that the initial B in the alto, a French Sixth in the Key of E major operate. he opening chord hould ideally be followed by a harmony on B, and it hould move to an E major chord. hi, we mut remind ourelve, i how Skryabin' beloved ritan and Iolde flow in it opening bar. It goe without aying that the ritan chord, which litter the page of Skryabin' Fourth Sonata, Op. 30, i open to myriad interpretation; the point i, however, that Skryabin eem to ue the chord a an appoggiatura to a French Sixth chord. 191 f::::::::.. ~======-- )\.[J] FIG URE 3-32: PASSAGE FROM HE FOURH SONAA, OP. 30 In ritan, the progreion move from a French Six th to an E 7 (V), implying the key of A minor. Of coure Wagner' enterprie i to encapulate deire, a mechanim that i orientated toward a ingle obj ect at the expene of other, but Skryabin i concerned with preenting a preternatural dtive-baed economy, which i why he doe not offer any ingle pathway out of the drive conflict at thi early tage in the piece except through the vaguet hint. Such a hint i made in the right-hand of m. 1 of eir a the chromatic cell (C~--~) reache the ~, underpinned by a B. It oon extend to an E, thu outlining the bare bone of a French Sixth dicharge. Here a linear i-rjve emphaie the of E. And to be ure, the E chord i embodied in the reulting open fifth: E/B. he ame E/B, revealed in the opening chord, i now recontituted a a 'peudo tonic'. hi aid, the French Sixth i omething of a minomer becaue it i identical to the a-rive and dicharge in the ame way. hi dicuion i intended merely to highlight it function a an auxiliary dominant (CV o f V') rather than imply CV', thu deferring the object of the functioned drive further along the cycle of fifth. hi interpretation illutrate that the goal o f the drive i in fact far from fix ed, apropo of Chapter 1 ' dicuion of the aim of the drive Carpenter, bematit evelopmml afld Continuity in the m PianoS onata oja!e.ytmder S aiabin, 65. Chapter hree 121

125 Now, any of thee drive-rype could eaily embody pure and unadulterated deire if they were pread out into a yntactical harmonic entence. But in the context of uch an ambiguou opening, where a litener i confronted with a dicombobulating deluge of decontextualied drive, it become impoible to proce the complex drive data o a to form any ene of linear deire for pecific chord or pitche. he piece of muic a a whole need to elect and nurture the different drive and contruct a linear model of deire. o undertand the emerging ignificance of thee drive within the overall tonal drama, we need to can through the Op. 57 piece a a whole. A hown, the i-rive in the key of G i ublimated into a pecific form of -7 motion in the very firt meaure of eir when it approache the G 7 configuration. But thi i immediately upended in m. 3 when Skryabin preent a peudo-perfect cadence in the key of All. Yet the G return quickly in mm. 3-4 to approach imilar cadencing in G, with the 7 imultaneouly preented in the reolution. hi equence ofeb -7 Ab -7-7G utilie the tritone link between the All and the a-rives hi tritone 'ubtitution' mechanim will recur throughout the piece, but rather than being a ymmetrical harmonic cheme in it own right (a Varvara eroova ugget), it ubvert the underlying flow of the cycle of fifth. Nowhere in eir i thi clearer than at the end of the piece, when Skryabin orientate u toward a pure tonic chord of Gb pringing from it dominant in m. 12. He immediately refract thi cadence a b 7-7 G -7 C in a peudo-neapolitan approach to the tonic. eir end with a facinating chord that contain the ame drive a the opening. Skryabin certainly finihe with the illuion of a perfect cadence when the ba move from G -7 C in mm , but he mark the preence of a b-orir 'E on G, containing the augmented fifth (#) rather than the diminihed. hi # create an additional level of tritone pliability, ounding againt the A that eep into the harmony. Given that the pitch F i alo preented, the # (a an Ell) i pulled toward the key of BP via an a-rive But the pitch B (interpretable primarily a the third of the G chord) alo reonate with thi # and the A to produce a parallel a- RIVE to E. hu we hear at leat three drive: B (a- 0 Rivd, G (b Ri vd and F (a- 0 Rivd Whilt Skryabin preent a very different chord of reolution to the original chord, he ha preented a chord that poition each drive one notch around the cycle of fifth. hi i more viible under a rudimentary form of drir;e ana!ji: * I l l I lke ~ F# 1 B E A G C F m ~ EP 1 All, b Gil 1 FIGURE 3-33: CHAR COMPMUNG HE RIVES INHEREN IN ESIR'S FIRS AN LAS CHORS Chapter hree 122

126 he aterik mark the only omitted drive- l>. One mut remember that the Al> drive from the opening, which notably remain unatified in thi final chord, ha jut been ublimated in m. 12 in the equence leading to an ineluctable perfect cadence on Gl>: the only 'trouble free' tonic in the piece. Of all thee drive, the drive on B- preented here at the final moment- i perhap the mot intereting, ince it ha not yet appeared in the piece (although it wa implicit in the interpretation of the opening chord a a FrendJ Sixth drive in the key of E). Ultimately the a-rive on B become increaingly ignificant in Caree danee. In the beginning of the 'B' ection, the piece otenibly unfold a kind of 'variation' of it dance material by preenting the opening chord with a different rhythmic template. hi illuion diipate a the fragmented chord realie it French ixth implication and reolve to a peudo-b chord in m. 18, a chord that i harmonically diaphanou but rendered melodically trong through the riing ~-E -F ~ - G pattern. he muic proceed to the fragment of an E chord in m. 19 that in turn continue briefly to a pure A minor triad (the C pelled a a B~). When the latter reolve to a B 7 drive (articulated mainly in the left-hand), the A minor chord i commuted from a to as chord. 17 '!I ~ t ') 18 r Ieger onduleux -== ~===-.. ~""""--'~ 7! "t~t. A II 19. +!..., ~ I,L I A ) 20 ~ f~ +! E: l>vi v I-7-7 iv -7 S-7 FIGURE 3-34: CARESSE ANSEE, MM Such refraction of eil harmonie impoe themelve on the econd part of Caree danee. eir coure through the cycle o f fifth wa frequently overwhelmed by interruption and diverion; the cadence on Gl> toward the end wa but a fleeting glimpe o f tability; nor did it tritonally related C contitute a atifactory ending for the piece. If thee progreion are intimated omewhat vaguely in eir, then they achieve greater definition in Caree danee, e pecially with the confirmed fifth-cycle of 7 :,. 7. mm , repeated and expanded from mm One now hear C (b- 0 n 1 vv.)-, F (1-Rivda-RIVE) -7 Bl/ (b-rive) -7 E 7 (/-RIVE/ a-rive) -7 Al> 7 (b-ri vd -7 l> 7 (I-RIVE/ a-rivd But at thi point (mm ) Skryabin chooe to divert the cycle back to C by exploiting the 'tritone link' between l> 7 and G 7. A nd thi break up into fragmentary cadence before the piece end in C. Chapter hree 123

127 Ia e J~.n.m51 ppp FIGURE 3-35(A): CARESSE ANSEE, MM /ento~ 1 FIGURE 3-35(B): CARESSE ANSEE, MM he final C chord i approached from a pure b-orwe in m. 58 (a fter a F rench Sixth in the key of Gf>); the G 7 chord contain the ame ~ that ended eir. hat being aid, the abence of the pitch A dipere the pre-etablihed B 7 (l 01 uvc) and F 7 drive (I- 0 RJ 1 'E now reduced to / 01 uve) And thu Skryabin ha orientated the patially conflicting drive, baed upon fragmented tritone that lip in and out of dominant-tonic yntax, into a temporally organied form of deire- a proce by which the cycle of fifth preent a yntactically teleological, albeit ever-deferred, object. he above finding are charted on the drive afla/yi graph (Appendice A and B), to which the reader i now invited to turn. A caual overview of the eir graph (Appmdix a) reveal a triking lack of ~ dicharge between the region of C~ and BP. he muic i dominated intead by diagonally riing progreion, unfolding a equence of S dicharge. dicharge are confined to the 'flat' (J) region in m. 3, 8 and 11, which together unpack a 'cycle of fifth', E~ A I>~ f> ~ Gf>. Significantly, thi final Gf> i the work' only pure perfect cadence; it function a the tritone ubtitute of C major. We thu find a ' tratification' of the region and S region occurring between the Ef> ~ Gf> area of the grid and C~ ~ B f> repectively. he ituation i revered in Caree damee (Appendix b), which feature an enormou proliferation of dicharge covering vat tretche of muic, with iolated S dicharge Chapter luce 124

128 tucked into expanive chord complexe. Moreover, the piece' econd half focue on fifth cycle: C -7 F -7 BP -7 EP -7 AI> -7 b, witching to the tritone pole of b / G which then lead back naturally to c. he Way Forward \Vhat i one to make of thi formal manoeuvre from an amorphou muical ma of free-forming drive toward a clearly phraed dance-movement with it cycle of fifth and perfect cadencing? In hi own critical writing, Skryabin himelf propoed the exitence of an evolutionary flow from bae drive toward ophiticated caree: "Animal motion... change into caree...". 192 Conceived in term of a development toward higher form of human exual activity, Skryabin' evolutionary model exactly matche George Bataille' uggeted evolution from the exuali!j of animal to the erolictm of humankind. 193 I argue that imilar pychological and evolutionary narrative are at work within the muical tructure of eir and Caree anee, a reflected in their title. Our excurion through thee, Op. 57 miniature ha outlined way in which thi particular narrative trajectory can be harmonically embodied. hi analyi ha aborbed the different drive type that I have explored and hown how they can coalece in individual piece. he remainder of thi thei will invetigate, more thoroughly, the path thee drive take. I will how that, at variou level, the drive follow t\vo ditinct path: (a) a linear, teleological, deire-baed path like that of eir and Caree an ee and (b) a circular, drive-baed path. he dialogue bet\veen thee two tructure will be formulated a a ynthetic project in Chapter 5 and 6, m ediating Skryabin' muical work and hi philoophical account. Chapter 4 widen focu to explore t\vo large work- the t\vo late onata, no.6 and no.10. In o doing I will elicit variou model o f muical pace in which thee drive operate. 1?2 Bower, Sm'nbin: A Biography 2, George Bamille, Eroticim (London: Penguin Book Ltd., 2001), 29. Chap1 er hree 125

129 Chapter Four 'Ordering the rive': Navigating rive and eire hrough onal Pitch Space. ul don't know a'!)'thing I can't expre at the piano, and from thee different expreion I can build an entire.rytem a an inner entirety or whole. And it eem to me that muical expreion i much more pointed!j logical than mry abtract concept." 194 Pitch Space: Mapping the Body Alexander S kryabin Ruian muic theory ha been heavily influenced by the work of Hugo Riemann ever ince hi Vereinfachte Hmmonielehre appeared in tranlation in Analyt uch a Gregory Catoire, Varvara ernova, Viktor Belyayev and Yuri Kholopov, have taken Riemann' theorie cloely to heart. 195 In previou chapter I tentatively borrowed element of Neo-Riemannian theory pertaining to the ' function' of variou harmonic onoritie, a theory revitalied mot recently by aniel Harrion. But the other legacy of Hugo Riemann i the notion of mapping tonal pace. Riemann' particular apparatu wa the onnetz - the lone net- that wa introduced in Chapter 1. he impact of the onnetz ha been divere; avid Lewin' 'tonal tranformation', Richard Cohn' 'hyperhexatonic' and Fred Lerdahl' 'tonal pitch pace' are indebted to Riemann' model. 196 hi wide field of reearch provide way of aligning patial metaphor with harmonic motion. Such metaphor work beyond the theoretical; they are deeply viceral and are intricately cathected to 'the body'. Janna Salaw' recent work argue that the cognitive proce of litening to muic involve organiing ound into phyical analogie baed on the perception of imple patial categorie: up-down, inide-outide etc. 197 hee are orted into "image chema", baed on the work of the philoopher Mark Johnon. Candace Brower uffue Salaw' rather general reearch with hardcore theorie o f harmonic pace. She alo appropriate reearch from the cognitive cience, appealing to H oward Margoli' theorie of " pattern matching". 198 Of particular interet to thi tudy i the proviion of vario u conceptualiation of the 'cycle o f fifth' with which Brower allie the human body, categoriing 'image chema' a circle, path and container. 194 Skryabin to Arnold Alhvang: Bower, he N ejv S niabin: Enigma and AnSJver, u i a particular concern of Khananov' thei, R11Sian Methodology of Muical F01m and Ana(yi. 196 avid Lewin, 'Amforta' Prayer to iturel and the Role of in Parifal: he onal Space of the rama and the E nharmonic C/BI>', 19th-Centmy Muir 7 (1983-4); Richard Cohn, 'lvlax.imally Smooth Cycle, Hexatonic Sytem, and the Analyi of Late-Romantic riadic Progreion', Muic Ana!Ji 15/ 1 (1996); Lerdahl, onal Pitch Space. 197 Janna Salaw, 'Force, Conta.iner, and Path: he Role of Body-erived Image Schema in the Conceptualization of Muic', ]oumal of Muic beo'j' 40/ 2 (1996). 19 M Candace Brower, 'A Cogn.itive heory of i\luical Mean.ing', Jouma/ ofmjisic heory 40/ 2, 44 (2000). 126 Chapter rour

130 Skryabin' muic i often likened to 'the phyical', but thi eem to be nothing more than a glib metaphor that underline Skryabin' erotic facination. In uch a way Leonard Sabaneyev claim that, Skryabin' terrifying hyper-eroticim, which puhed o many boundarie in hi compoition, wa alo demontrated in hi playing- in the voluptuou, delicate way he wa in touch with the ound, in thoe pamodic rhythm that enually aroued him, in thoe trange and unutterable deire for ultimate caree in the Myterium, caree which lacerated- 'love-war' -to ue hi phrae. All of thi revealed him to be a harply exual pychological character. 199 But in erotic theory ~he 'care' i imply the titillation of an erogenou 'rim' tructure on the phyical urface. It i neceary to urvey the dynamic erotic body in which Skryabin' harmonic libidinal energy flow. hroughout the coure of thi chapter I "vill draw on the work of Erno Lendvai, a key figure in linking the phyical realm of nature and muic. It wa Lendvai who unearthed the 'Golden Section' and the 'Fibonacci Serie' in Bartok' muic?jo Both of thee mathematical tructure are drawn from natural phenomena in the phyical world, which Lendvai convincingly examine alongide muic. Finding the Fibonacci erie operating in Skryabin' muic, Manfred Kelkel extended thi reearch to Skryabin tudie. 201 But ultimately uch enterprie tell u little about how we actually perceive the artwork a a functioning 'body'. o contruct a body i to contruct the pace in which the 'drive' energy flow, to define it parameter and limitation, to delimit it 'top' and it 'bottom', it 'inide' and 'outide'. herefore I turn to analytical model of pace. Unfortunately, exiting model hort-change u when recontructing Skryabin' muic. Michael Spitzer how that, in order to comprehend 'tranitional' muic, one mut huttle between patial pattern. Spitzer ue Chopin' Prelude in E major to highlight the cognitive hift that occur within mall window of time, uing the dialectic interchange of Richard Cohn' and Fred Lerdahl' model. 202 In another bold geture, Anthony Pople found a paageway between tructural cognitive level of a piece; he cat Skryabin' Feui//et d'a/bum, Op. 58 in the light of Fortean et theory, illutrating that a myjtic (6-34) foreground i et againt a whole-tone (6-35) background. 203 In thi chapter I alo yntheie two patial ytem in order to cope with Skryabin' late tyle, but in a very different m~nner to Pople or Spitzer, through the creation of a ingle ynthetic model. But after thi I forge a path through Skryabin' latet muic to find a much freer tyle in which 199 «Eo C1paruHhii1, rrpeaeahhhii1 3poni3M CKpR6HHa, 6nawm1 Ype3 Kpai1 B ero COYHHeHHR, rrporbarbwhhcr B ero Hrpe, B 3HX CAaAOCPaCHhiX, yrohyehho 'i)'bcbehhhix KaCaHHRX K 3ByKaM, B 3HX Clla3Mall'ieCKHX phmax, KOOph!e Bo36)')KAaAII ero, KaK ocr3ahue, B 3HX cpahhhix n necka3yemhix MeYax o nocaeahhk AacKax B MnrrepHn, AacKax C1paAaHHRX, pboe, KaK OH robopha, - BCe lloka3b1baao, 'io Mhl HMeAH B ero AHI.Ie O'ieHb pe3ko-cekcyaahhhih nchxhyeckhii HI.» Sabaneyev, Vopominaniya 0 Skryabine, oo Erno Lendvai, Bila Bartok: An Anafyi of Hi Muic (London: Kahn & Averill, 1971). 201 Manfred Kelkel, Alexandre S criabine: Sa Vie, L'eoterime Et Le Lm!gage Muical an Son Omvre (Pari: Champion, 1984). 202 Spitzer, l'vlichael, 'he Metaphor of Muical Space', MtiSime Srientiae 7(1), 2003, Anthony Pople, 'Skryabin' Prelude, Op. 6 7, No. 1: Set and Structure', Muir Analyi 2/2 (1983), Chapter Four

131 my ynthetic model collide with other. hu I begin to ubdivide Skryabin' late tyle and portray two different tonal regime, where other find only one. A ialectic of Space: Erno Lendvai with Fred Lerdahl From previou chapter, two ditinctive feature of Skryabin' drive-complexe have emerged; thee mut be taken into account in any patial model: 1) A hown, Skryabin highly favoured long-range cycle (or line) of fifth. See, for intance, the excerpt from Caree danee that compried figure 3-34 and that contained thi progreion: C 7 ~ F 7 ~ BP 7 ~ Et/ ~ A~ 7 ~ ~ 7. 2) Skryabin how a trong preference for t3, t6 and t9 operation (tritone and minor third relation) at key juncture. hi wa mot apparent in late piece uch a Poem, Op. 71, no. 2 where the ba hovered between, F, G~ and B- the four t3 node of the chromatic and octatonic cale. One could convincingly diagnoe the firt of thee trend a a ymptom of Skryabin' early teleological deire-tructure (progreion in fifth), and the econd a hi late emphai on the drive-tructure that perpetually orbit their object. Skryabin' earlier work followed intenely narrative tonal trajectorie, more o than the late work, and I have propoed that thi i a converion from deiremechanim to drive..:mechanim. 204 But in the following dicuion, thi compoitional difference will be dimantled to reveal two pace that actually hared a dialogic relationhip throughout Skryabin' career. Lendvai' work on the 'Golden Section' and the 'Fibonacci Serie' offer valuable inight into the compoitional proce but, unfortunately, doe little to territorialize u within Skryabin' harmonic pace. More fertile i Lendvai' other great contribution- hi 'axi ytem'. Varvara ernova focued on the 'double-function' of the 'tritone link', and I too have explored the J<rench Sixth drive-complex (my a-orjvj and the ynonymity between dominant V 705 chord and their tritone tranpoition. Lendvai call thi 'ubtitution'. Of coure, whilt tritone 'ubtitution' are common in Jazz muic, one i forced to admit that the theory behind it i rather hazy. Lendvai merely ugget that 'counter-pole' are "more directly related to each other than the relative key of claical harmony", and thu a "pole can be replaced by it counter pole without any change in it function." 205 Yet, through ernova' 'tritone link', Skryabin' a-rjves hare identical pc content, and thu tritone ubtitution become even more pertinent to Skryabin' muic than Bartok' for which it wa deigned. But 'tritone ubtitution' i only one facet of the axi ytem; Lendvai offer t3 ubtitution baed on relative minor relationhip. Without explicit homage to Hugo Riemann, Lendvai' axi ytem i eentially the Nco-Riemannian 204 hi latter diinteret in narrative tructure would be conteted by muicologit uch a Suannah Garcia who convincingly find hypothetical 'programmatic' content in Skryabin' late muic. My inquirie refer more to pecific form of tonal/ pychological narratology, and therefore need not contradict. Garcia, Alexander Skryabin and RJmian Symbolim: Plot and SJ'mbol in the Late Piano Sona!aJ~ Suanna Garcia, 'Scriabin' Symbolit Plot Archetype in the Late Piano Sonata', 19th Cenllll)' M11ic XXIII/No. 3 (2000) Erno Lendvai,.fymmetn.e o[m11ic: An Introdllction to the Semantic o[m11ic (Keckemet: Kod:i.ly Intitute, 1993), 8, Chapter Four

132 tripartite concept of onic, ominant and Subdominant (, and S). For Lendvai, the three prevailing chord that bear thee function -the o-called primary triad- can be ubtituted by the tritone or relative-minor 'econdary triad'. hu, the chord of C major i equal in function to F~ and A, but alo to the tritone relation of A- Ell. hee four refraction of the function are arranged a an 'axi', and the S function and function each ha it own four axe. InC major, the S function i F, B, Ail and, whilt the function find embodiment in G, C#, BP and E. hi i how Lendvai frame hi 'axi ytem': BP G--+---C# A F# FIGURE 4-1. LEN\'1\I'S 'AXIS SYSEM' With thi in mind, I reviit my prototype ofskryabin' 'late tyle'- Poem, Op. 71, no. 2 (ee figure 1-25). he fundamental drive in the ba region excluively outline drive tructure on, G#, F and B, uggeting a 'tatic' region. In the final analyi one mut concede that Lendvai' ytem i too rigid to follow Skryabin' intenely drive-baed muic which i propelled by the need to dicharge many internal tenion. o claim that the chord of and B are located in the region tell u very little; a ynthei of Lendvai' model with a pace that can incorporate the flow of Skryabin' protean drive dicharge offer a richer analyi. hi i neceitated by Skryabin' obeion with the long equential y...:; dicharge, heard particularly in hi middle-period work although, a indicated, they ftlter into hi late 'octatonic' tyle in a very different form. A model mut therefore chart the cycle of fifth on one of it axe ari.d t3 relative on the other. hi i fortunately nothing new to analyi. Fred Lerdahl' 'tonal pitch pace' i actually accredited to Gottfried Weber' 1824 model, but i appropriated in a new Chapter Four 129

133 way to ground Lerdahl' analytical ytem. 206 A fuion of Lerdahl' and Lendvai' ytem could look like thi: B~ ~ F~ A E~ G~ B A~ c~ E G ~ F~ A c G~ B F c~ E G m F~ A c Ell B F Ail E G m il A c Ell Gil F Ail B G m il E FIGURE 4-2: PICII-SPACE Gill\PJ-: SYNIIESIS or LERAHL (WEBER) AN LEN\' AI Inerting functional label down the left-hand ide how how a compoer could follow the cycle of fifth, whilt rotating tonal function: -7 S S A compoer could play 'nake and ladder' down thi chart. One anomaly i that tritone ubtitution in conventional pitch-pace require 'tranformational' procedure, but the two chord are often identical in Skryabin' muic due to the equal pitch-cla content of the a- 01 uve configuration. hu they are 'maximally mooth' and hould belong in the ame graphical location. Lendvai' ubtitution i different to Lerdahl' pitch pace, which mut be remembered when uing the map. Nonethele, thi diagram provide the potential for a chain of dicharge through a cycle of fifth whilt maintaining a perpetual S -7-7 motion. Poem, Op. 32, no. 2 Rather than dive headlong into Skryabin' late tyle, I take a preparatory detour through ome earlier work. Op. 32 flowed from Skryabin' well-documented burt of creative energy in hi 'Middle Period'. Of thi piece ernova claim, "It i difficult to ee how any tonal orientation other than a motion from to Gil could be deduced from thi vital paage." ~ 07 In direct reproof to thi fantatic underetimation, the patial mechanim decribed above will demontrate how pitch-pace ubtitution run through a more conventional diatonic S -7-7 cheme, and help to recontruct the origin of kryabin' late-tyle. 206 Lerdahl, onal Pitch Space, 42. ~m Guenther, Vmvara emova' "Garmoniic1 Skriabina": A ranlation and Cn.tical Com111wtary, 122. Chapter Four 130

134 Allegro. Con eleganza.con fiducia J= Chapter Four 131

135 FIGURE 4-3: POEM, OP. 32, NO.2, MM Whilt the key ignature denote major, the firt chord comprie only the pitche -Ab-C. ypically for Skryabin, thi meagre collection of pitche barely etablihe a firm key; the third i abent, the fifth i diminihed and the eventh occupie the ba poition. Neverthele the piece conclude with a perfect major chord, retropectively validating it a a plauible tonal frame. Of coure thi opening contain a drive in the key of Ab when the F# (J in ) maquerade a the Gb eventh of the Ab 7 chord. hi huttle u between tritone pole of the ame axi. I call thi axi, allowing that drive on F and B could helter beneath the ame umbrella. In m. 2, thi a-rive i upported (a a drive centred on ) by a fleeting 'neted dicharge' to a G chord. Before conolidating thi G a a local, Skryabin whik u a whole-tone 'upward' from and Ab to E and Bb. hi Bb drive i weak, tentatively appearing in the diminihed chord (-E#-G#) and the left-hand' dilocated Bb pitch. Neverthele, the drive on G, E and BP clearly belong to a different tritone pole-s (E, BP, G, C#)- and the following event conolidate their function. In the latter part of m. 3 the aijrjve on E reolve to a /-RI VE on A and thu dicharge itelf into a directly related pole from the axi (A, C, EP, F#). A flawle -7 S -7 pattern i therefore revealed in the opening meaure. An equivocal feature of the preceding analyi i the a the tonic centre. After all, the wa inveted a a drive and dicharged into G in m. 2. But the aertion of a i validated in mm. 4-5 a Skryabin complete the -7 S -7-7 cycle, clarifying the key through a perfect cadence. Of coure Skryabin oon add the eventh to thi complex, neatly returning to hi point of departure. It eem that the primary function of thi opening paage i to convert the chord of from an untable chord to a table. hi activity run throughout the piece. he following Lendvai / Lerdahl patial graph chart drive activity thu far Square repreent the drive articulated; arrow-headed line denote the tranition between; double-line denote ynonymity between pitche a it doe in Lerdahl' model. Chapter Four 132

136 F S C# F# B F IGURE 4-4(A): 'ONAL PICII SPACE' GRl OF POEM, OP. 32, NO.2, MM One limitation of the foregoing analyi i that, whilt Lendvai' 'axi ytem' i hown through the cycle of fifth, the actual ubtitution remain auxiliary. Eentially, a chord i replaced by an E chord (albeit with other drive), returning to a chord in a I -7 II -7 V -7 I progreion- the ame chord progreion that open Beethoven' Hammerklavier Sonata, albeit in a different key. But axial ubtitution pertain to mm. 6-8 when the b-orjve on (from m. 5) morph into a!-rjve on AI>. hi then progree to a /RIVE on l>, emphaied in the ba, preceding a Gl> pitch in m. 7 and a fullyfledged chord in m. 8. In thi way Skryabin offer a continuou cycle of fifth, diplaced through the tritone pole of -AI>. Hence: E -7 A -7 / AI> -7 il -7 Gl>. 209 hi can be viualied on the extended Lendvai/Lerdahl graph a follow: F C# F# B E G Bl> A c El> FIGURE 4-4(R): 'O AL PrrCII SP,\ CE' GRl OF POEM, OP. 32, NO.2, MM. 1-8 hi how a continuou chain, ruptured only by the tritone witch. On a drive ana!ji graph, diagonally downward dicharge are emphaied by the ba. ~ 09 Here, '/' denote a point of ubtitution. Chapter I' our 133

137 II B E A G c F FrGURE 4-4(C): POEM, OP. 32, NO. 2-RIVEANALYSIS But again, thee tritone diplacement do not fully avail themelve of Lendvai' axial poibilitie that, one mut remember, utilie t3 operation a well a t6. In rom. 7-8 the tritone link between Gl1 and C i exploited, and the C ba-rive flow into as dicharge of C to G. But more crucially, a the ba move to a Gin m. 9, the chord it underpin i an EP chord. hi El1 dicharge quickly into Al1, interecting the new tritone pole of. he E11 chord belong to the ame tritone axi a the primary Gl1 in m. 8, but it i alo the relative minor and thu a ubtitute in Lendvai' ytem. he chart can now be updated: Chapter Fo ur 134

138 F S C# F# B S E A B FIGURE 4-4(0): 'ONAL PICH SPACE' GJU OF POEM, 0P. 32, NO.2, MM. 1-9 So far, three pole of the axi have been encountered, and the fourth- A -lie in cloe proximity. In the econd half of m. 10, the pole that we have jut reached (the -Al> of m. 9) i continued on it own t3 axi with the inception of B and F a-n 1 uve hee drive uher-in a drive on A which i entrenched throughout m. 11; a the melodic F# drop to thee, the drive become a fully fledged / RIVE hi i the true in the key of, fully dicharging itelf in m. 12. he graph now extend to include all four polar ubtitution in both and region. he F make an unanticipated reach back for the A (moothed by the hared ba pitch A), only to reinforce the chord of at the cadence. F S C# F# B S E FIGURE 4-4(E): 'ON.r\L PICH SPr\CE' GRI OF PO Ei'vl, OP. 32, NO.2, MM Choptcr Four 135

139 he witche highlight way in which Skryabin move between pole a preparation for what I term direct dihharge. Subtitution typically occur before a genuine nippet of the cycle of fifth, leading to a cadence. In the final bar of Caree damie for example, ubtitution i found only in the final meaure of the cycle a Skryabin witche between l> and it tritone G, preparing for a cadence on C (See figure 3-35). icharge uch a thi I claify a direct. In due coure indirect dicharge will be explored; thi i a phenomenon of ubtitution analyi, when a i preceded by a ubtituted form. Subtitution and Pii One thorny iue of ubtitutional analyi pertain to the function of tritone witche. epending on how l>ii 6 i conceptualied, PII ~ V ~ I can be regarded a both ~ ~ and S ~ ~ progreion. On thi iue, Lerdahl report that l>ii function a a rather than S, owing to it trong attraction to. He claim, " the relatively mall value [of tenion between l>ii 6 and V]... leave l>ii 6 a S function in omewhat equivocal poition, for it tronger impule i to function a and to reolve directly to I".Z 10 he functional equivalence o f tritone-related chord in Lendvai' y tem alo upport a ubtitutional ~ reading. But many regard the chord a a chromatic reinterpretation of the S chord. Even in the Ruian chool, ernova label l>ii a S, though he tree that thi i not alway the cae: "in one cae it i a Neapolitan ubdominant in root poition and in the other it i a dominant enharmonicauy equal to and forming a tritone link with the dominant of the baic tonality." 211 Her follower, Roy Guenther, alo eem inclined to label the tritone ubtitution a a functional hift (S ~ ), claing the cadence eiv ~I a plagal. 212 Yet he fall prey to confuion in other intance, claiming, whilt l>ii i Sin function, ernova' A and B are " functionally uniform". 213 He alo claim that the tritone link itelf upplant the S function. 214 Lerdahl too allow that l>ii ometime function as, through l>ii being a ubtitution of ii (which it i not in Lendvai' ytem). In o doing, he refer to Skryabin? 5 he Ruian Lerdahl, onal Pitch Space, 312. hi view i reflected in the Ruian analytical tradition that Skryabin had acce to. In a recent 'web forum' of the Society of Muic heory relating to imilar l>vi chord, lldar Khannanov indicate Rimky Korakov' epoual of thi view, due to the raiing of cale-tep four in aug111ented ixth chord (Khannanov, Ildar, / pipermail/mt-talk/2006-march.t:xt, Wed Mar 1, Acceed June, 2007). hi tandpoin t i hared by mitri ymoczko: "in Schubert and Chopin, 'augmented ixth' come to act a dominant chord leading directly to the tonic in cadential ituation. hi practice i reaonably common throughout the nineteenth century, and become almot mandatory in contemporary jazz ('tritone ubtitution'). By contrat, augmented SL'Cth chord have ubdominant function much more rarely- "from a voice leading perpective, you might ay that the augmented ixth i jut a much an altered ubdomi.nant a an altered dominant." (ymoczko, mitri, IV/VIv.ocie(yllllliiclbeory.org/ piper7llail/ mttalk/ 2006-March.lxl, Sun February 26, 2006, acceed June 2007) G uenther, VanJOm emoua' "Gm7lloniia Sk1iabir1t1": A ranlation and C!itical Conllllel/tary, Ibid., Ibid., Ibid., 171. ~ 1 5 Lerdahl, onal Pitch Space, Chapter Four 136

140 analyt Belyayev imilarly adopt thi view: "Rameau already regarded the accord de Ia ixte qjontie (that i, the II 6/5 chord) a a ubdominant harmony equal to the ubdominant triad."~ 16 aniel Harrion continue the S function argument, but other branche of hi work bear riper fruit. Kevin Swinden, following Harrion, attache a fourth function to the S. He ue the P function label to denote 'dominant preparation'.m hi accord with Skryabin' axial practice where functional equivalence facilitate 'in houe' preparation to dicharge, a I found at the cloe of Caree danee. Apropo of thi P function, the contemporary analytical lexicon alo embrace a function ('dominant of the dominant'). But ome feel uncomfortable with thi: Swinden claim, Imagine a traightforward context [i.e. a N-V- I progreion] where 4 i inflected upward. Are we to undertand that [thi alteration]... ha tranformed the function of the harmony from S to? Or ha the inflection merely intenified the expreion of the function that wa already preent in the diatonic S to progreion? One could plit hair to init that it ha done both, but even then it i clear we are talking about a ditinction of degree rather than one of kind. Sadly, I believe that the inherited language, which ha ymbol that look o different (S v. ), and our Roman numeral ymbology (V7 /V), ha created a fale ditinction-- ymbol that reinforce a ditinction of kind. In mot cae, I am much more comfortable recating many cae a a "Chromatic Predominant". 218 hi dicuion of the function pertain alo to the f,ii chord. Lendvai' contribution i to appeal to the concept of 'tyle'. In the Claical tyle, Lendvai would categorie f,ii 6 a as functioned modification of chord IV: "In Romantic harmony, however, the minor econd degree (f,) i granted an independent role and thu it receive a OMINAN ignificance.": 19 And Lendvai i correct to leave the functional ambiguity intact. Given the playful openne of drive ana!ji, which revel in ambiguity, it will come a no urprie that I wih to leave thee functional label open and proviional in thee tudie of Skryabin. he tenile force of Skryabin' harmony i the perpetual deferral of functional label, which remain fluid. In any cae, uch label are al111qy context-dependant. A Browne claim: "Function depend on 'context'... A naked major chord i NO a tonic until that i proven by context (wh.ere i the tritone?). No event contain or control it own interpretation. Even, tonic and dominant are not 'noun and verb' until they can be undertood in context a uch." 220 In the final meaure of Caree danee the f, chord in mm i not Neapolitan; the f, lie firmly at home in the ba where the pitch F would normally prevail. Via the tritone link, the chord i equivalent in pc content to the chord, and i therefore exiled from as or even function. he unuual feature of 216 «Y)f(e Pa~w Hapru!He c -rpe3by'fhem '-le-rnepoii oynehi! cy6aomjmahobbim C03BY'-IIleM C'-IHaA accord de Ia ixte ajontee O ecb II65 cy6aomhhahoboi1 rapmoj-jheii», Belyayev, Muorgkii, Skryabin, Stravinkii, Kevin J. Swinden, 'When Function Collide: Apect of Plural Function in Chromatic Muic', Mmic beory Speclni!JJ (2005). 2 l M Swinden, Kevin, bttp:l I WJVJv.ocie(J'nlllictbeory.orgl pipermaill mt-talkl 2006-Marcb.txt, March 21, Acceed June, !9 Lendvai, Symmetrie of Mmic: An Inl!vduction to the Semantic of Mwic, Browne, Richmond, I org/ pipemmill mt-talkl 2006-Marcb.txt, hurday March 23, Acceed June, Chapter Four 137

141 thi example i the fact that the trong tenion etablihed through the!l chord, and particularly the!l pitch, i diipated in the penultimate meaure, when the G chord i preented a a b-rive Skryabin' more common practice i to utilie the ernovan tritone link between the two ynonymou chord repreented a a-ri VE Baker examine the tenion of uch paage: "By virtue of pitch retention, the flat-ii harmony i in effect aimilated into the dominant harmony which frame it... But the 11II 7 -' 5 harmony doe occur a a eparate entity within the dominant prolongation, in order to et up additional tenion in the ba, by progreing by tritone direcdy to V." 221 o reolve the iue of the fluidity of tonal function, I will appeal to variou tructural paradigm, after firt examining way in which thee function can alo be vertically compiled through a curory look at one o f Skryabin' midlate work. Middle - Late Style Rotation: FeuiUet d'album, Op. 58 A Skryabin' harmonic language bloomed, thicker drive complexe propered. hree or four drive now act upon a ingle chord, and thi impact upon the functional analye ketched above. he firt chord of Feuillet d'album for intance, contain a! -RIVE on G#. he tritone-link ( 7 ) i precluded by the authentic fifth (#) in the right-hand, and thi (a well a the miing pitch A, and depite the tritone pitche off# and C) make a drive toward G extremely weak. But the opening onority equeter a RIVES on C and F#, which etablih a pole-counter pole axi. And if C/F# etablihe a, then drive on G# and (a meagre /-RIVE and i-r!vr), add as inflection to the onority. Con delicatezza { t" <..(,~ )~ '- K 1 ' * ~ -Eac=- ' con voglia. * 22 1 Jame M. Baker, 'Scriabin' Implicit onality', Mmir heory Spectrom 2 (1980), 17. Chapter Fo ur 138

142 Iento 5 FIGURE 4-5: FEUIUE 'ALBUM, OP. 58 One of the mot recent topic in Neo-Riemannian function analyi i the o-called colliion of function. Kevin Swinden, in hi article When Function Collide, take leave of aniel Harrion' work and quetion moment when multiple function pervade a ingle chord. But thi work i nothing new to the Ruian Analytic tradition. Belyayev' analyi of the Poem ojecta.ry boldly aumed that multiple function coexit in a ingle harmony. ernova too, dicued 'hi-functionality', apparently unaware that thi wa a highly original approach. Belyayev' own advance are humbly preented but are of taggering in1portance. At time, one could perhap criticie him for not taking hi analye to their full concluion. In thi intance, Belyayev, quite reaonably locate the and S function, but hie away from a triple functional colliion; the (pitche A, C#, E and G), the (ba pitch and A) and even the S (G, B, ) fue together. 222 _(1 r- 3-, 0 FIG URE 4-6: PAR OF B ELYJ\YE\''S A N ALYS IS O F HE POEM OF E CSA SY, OP Belyayev, M uorgkii, Skryabin, Stravimkii, 73. Chapter f'our 139

143 And uch triple-functioned chord abound in the literature. he final chord of eir, for example: FIGURE 4-7: CLOSING MEASU RES or ESIR he final chord netle a function (C and G fifth in the ba, anwering the call of the preceding function), as function (F, A and C) and a function (G, B, #, F). In both cae the function i embodied in the ba open fifth. he lack of a triad weaken each to ome degree, but the ba articulation and yntactical location- i.e. following a function- allow it to retain tonal hegemony over the other function. hrough the work of Swinden and Harrion, we are ued to the idea of the S blending with the, but we are hy of adding the. But thi i what Skryabin doe with hi imultaneou fifth-baed drive. \Vhen two alient pitche are preented a fifth (or a fourth) apart, one i alway potentially the dicharge of the other. Skryabin wa certainly a partial to mixing the and function a he wa the and the S, and our Ruian analytical contingent i perfectly at home with thi. ernova herelf mention the "bifunctional combination" ofv /I in an attempt to break down the hegemony of Paul ickenmann' ingle-functioned interpretation of Skryabin' harmony. 223 But rather than regard uch a chord a a reolution, he refer to it a a 'confirming chord'. 224 he final chord of eir mark thi perfectly. he Freudian meage - that drive exit in exce of their object - become crytal clear. Paramount however, i the tak of etablihing a functional hierarchy. And thu when two function are offered at the beginning of Feuillet d'a/bum- and S- I give prominence to the function becaue of it tronger preentation a a-rive I have written beneath the S (the lowet preented ymbol being the mot prominent, like a 'denominator') below the drive ana!ji.m When the opening material i repeated at t2 in m. 5, the frail drive on G# and become the new a -orjves> and the drive on Bi> become the new )-RIVE hi time however, it i conf1m1ed a an inveterate!-rive with the Ei>i> acting 223Guenther, Vmvara emova' "Carmoniia Sk tiabina": A ranlation and Ctitica! Commentary, Ibid., hi i analogou to Swinden' S 0 and S label: Swinden, "When Function Collide: Apect of Plum! Function in Chromatic Muic', 261. In the text, the label to the left of the '/ ' i the econdary function, the label on the right i the primary function. C hapter I' our 140

144 a. hi chord naturally bear a imilar double-function- / S- though, becaue the Bl1 i now tronger, the preure between the two function i diturbed. G# C# F# B E A G c F A!J S S S F IGURE 4-8: FEUIU.E 'ALBUM, OP. 58- RIVE ANALYSIS Further clarity i afforded thi graph through the incluion of a broader level of functional articulation. hi i hown below the horizontal border line at the very foot of the graph. Some of thee label are more equivocal than other. Between mm a thematic fragmentation take place, during which the S function emerge a the functional bedrock. he S function i dicharged only in mm with a tabiliing triad (though ynchronou with other drive) on Bl Brief return to the S / function are made in m. 10 and m. 12, though thee now highlight the rather than the G# drive. he ection ettle on a forive on B!J in m. 14, before the recapitulation (m.15) manoeuvre back to the. hu the piece articulate the -7 S -7-7 rotational paradigm, but the function overlap in the following way: S/ -7 / S-7-7. Naturally thee functional overlap burt the eam of my 226 hi triad (m.11 ) i not pure. he F~ and A pitche in the anacm i preclude the chord from being ftrmly etablihed. he Fin the ba, which complement the upper ixth, i alo hort lived. Chapter Four 141

145 ynthetic Lendvai / Lerdahl graph a hown in the following extenion, where vertical dotted line demarcate imultaneou functional categorie: S B!l F IGURE 4-9: A SAMPLE 'ON:\L PICII SPACE' GRJ OF FEUILLE 'ALBUM, OP. 58, MM hi piece i noteworthy for containing no cadential dicharge. icharge occur only through ubtitution; thi highlight the ditinction between direct dicharge and indirect dicharge indicated earlier. Prelude, Op. 67, no. 1 In ome of Skryabin' late piece the drive converge to the extent that they can, at time, become almot inditinguihable. At uch point drive ana!ji.r i tretched nearly to breaking point. Were it not for it trong applicability to even the latet work, many hort piece would reit drive ana!ji.r altogether. Wherea, Op. 58 wa conpicuou for it lack of direct dicharge, Op. 67, no. 1 ha many neted dicharge. hee dicharge proliferate around a trongly articulated function. Mm. 1-6 contain noteworthy feature. he tronget drive outline a axi of C, F#, Ell, A, whilt neted dicharge function beneath. In m. 1 the weak k-orjve on Bl1 add a element, which i immediately dicharged into a tronger I-RIVE on El1. Whilt the opening chord i neither a mytic chord nor the mytic configuration, it doe hare a imilar drive complex: three drive, one eparated by a whole-tone, another eparated by the tritone- Bl1, C, Ffl 28 he drive on Bl1 etablihe a neted function within the onority, wanting to dicharge back into the tronger, and more attractive, axi. hi may hed new light on the functionality of the mytic thord- an inwardly conflicted chord containing a trong function, with a neted function that trive to aimilate itelf into the. Beneath conitent drive on F#, a chain of fifth with four link i produced. Jut a the opening drive on BP dicharge itelf into a EP, o the drive on C dicharge onto F. And with m. 1 ' repeat in m. 2, a mall neted cycle of fifth-dicharge outline C -7 F -7 BP -7 El1. hu, whilt the mytic t01ljiguration trie to enfold the function back into itelf, it alo imultaneouly dicharge it element into S 227 Single line with no arrowed indicator how imultaneou drive. 228 he n(jlit configuration would contain drive on C, F# and. Chapter I' our 142

146 element. It eem that drive tenion can be very inuou indeed. But note how the function remain intact depite the hifting emphae beneath, thu auring it control. II Andante,..., j,r.. "i~.i ff~: [!).-. fj v ~;..:....-, !J!l,. '-..,. tr '1...,,.:,i _, -.. r:: ~ ~...-;; II I., ~, I r _,... J!!t_ ' (ill 1\ I!.J ~.J I.., ~ r!_, - r ~ 1\ ~ :::::;....:4..J I,.J I I., ~ r.:... - r f.tt. - - ~ ~ I l I I I..,.. tt - _... I ljr " "I"' ::.j~j [Pr- "' I -1- _, I J:: - -!':._. _ "r-",.. -""-:---,.;,_ ;..,..,. ~. "* "r,~ I I I I 1- if::..._ J~ tr~ ~-1 'j ~-1,~ ' I L I ;-- 'r ---:1..,... ~ ~~r~ -r...:::::: ~ r ~... -, - 1- ; "' '~ dkhlrant... k:=-.. r.. 4.._ 4.:::::::::::::: I -, I. I I L I I ~ : ,. J~J '1,. ;1' ---=--.. ~..:,: -"' ti.h Vb I t I. tl.. P'4. ~--- 1r r~ I~ --r r -,~» J ,_ I It,_ I ~ 1fY..._::::...- Chapter Four 143

147 molto accel - fl - I I)~,~ :::::-i- :::J"-.!...".,... molto ritard. -I I,_ -1 _L... I m 1.'..-=::::::-! ~.,-...:. ;:::...1 l... --~... '""t t:"',_.u!j. '..: '!"'- J J:.. ~ ft4:- _.. FIGURE 4-10(A): PRELUE, OP. 67, NO.1 # 1:4 2 2: :4 12: : : G# C# F# B E A G c F I Ll")...-< '-'-< 0 GP FIGURE 4-10(B): PRELUE, OP. 67, NO. 1-RIVE ANALYSIS In m. 5 a upplementary 'alien' g- 0 RJvE emerge on (pitche F#, A, C), which tentatively open up the ertwhile body of axe. hi S dtive expend itelf through a p dicharge on G (leading-tone motion from F# -7 G) and further into C (latter part of m. 12), completing another mall, intricate cycle. But in general term, the axi remain extremely flrmly etablihed throughout thi opening ection, and it i not until the Saxi arrive in m. 14 (weakly articulated a a ba tone and S/ combination) that we 144 Chapter Four

148 deviate from the. Within the pace of a ingle meaure, thi 5 function i directly dicharged into the I function, before the function crytallie in the following meaure. Mm contain no fewer than five drive of variou ort; m. 19 betray drive on A, F#, #, G and F drive, which involve the, 5 and function: 5 I I Yet a undercurrent run through thi procedure, remaining until the final expreion of C and F# drive. In thi piece then, rather than rotate, 5 and function, Skryabin preent a ingle function that perit throughout- almot a a pedal point- whilt the other function interchange and dicharge above. Circularity and Linearity: A ialectical Model of he Cycle of Fifth he illutration above have hown how Skryabin' piece can rotate the cycle. Exception to thi procedure generally find jutification from tonal tradition. In Poem, Op. 32, no. 2 the ole diverion from rotation happen at the cloe of tl1e piece, which alternate and function in the manner of a codetta. he fact that thi rotation i achieved through ubtitution call for a reappraial of the cycle of fifth, at lea t a far a it find a home in Skryabin' muical language. raditionally one imagine that the 'cycle of fiftl1' i what it claim to be: a circle; one move around thi circle and i forced to cro a 'bridge'- either the 'enharmonic bridge' of the chromatic cycle or the 'tritone bridge' of the diatonic cycle. c B E C# G FIGURE 4-11: ire CHROrvu\lC CYCLE O F F IFfl-lS FIGURE 4-12: HE ir\on IC CYCLE OF FIFfi-IS Chapter I' our 145

149 More recently, the theorit avid emperly ha traightened out thi circle into a 'line of fifth'. 2-?<J he difference lie beyond orthographic hair- plitting. he contrat between the line and the circle ymbolie the contrat between the teleological and the aimle. Candace Brower map divere model of the cycle of fifth onto the phyical experience of the human body, and in a imilar way, my project appeal to Lacan' theorem that bodily drive orbit a circle, temporarily making demand in the form of a 'line', which, through failure to attain it mirecognied object, return to it circular path. eleuze ue imilar image, when he ketche hi 'two regime of madne', two 'regime' that are alo conceived a univeral emiotic regime. 230 Such metaphor - the circle and the line- are not unfamiliar to muic theory. Erno Lendvai claim, "In ante' ivine Comec!J, the ymbol of the Inferno i alo the circle, the ring, wherea hi Paradie i ymbolically the traight line, the arrow, the ray. "~ 31 He how how, throughout he ivim Comec!J, ante attempt to traighten out the circle. Although Lendvai' ue thi ymbolim to highlight Bartok' chromaticim (circular) veru diatonicim (line), hi dicuion can pertain to harmonic concept like the 'cycle of fifth'. Naturally, the cycle reit uch linearity: "For within the cloed phere of the fifth-circle it i a impoible to peak of fixed point of upport- or 'progre' - a it i nonenical to call the ditance covered on a phere (or circle) 'progre"'. 232 Yet a.in ante, linear, Lacanian 'demand' ever-threaten to rupture the circle. Our conception of the 'cycle' will be entirely dialectical, yntheiing two ditinct model: the linear model and the circular model. A Linear Model A hown, Skryabin allow lengthy 'cycle of fifth' to tructure the chord progreion of hi middle period work. he f1nal paage of Caree danee i a typical gambit for a mid-late Skryabin work; it lengthy dicharge chain contantly and aymptotically defer reolution. When tructured chord reolve into new configuration, the original functioned chord commute to a S function. If the iolated 7 ~ G progreion can be viualied a ~, then 7 ~ G 7 ~ C become S ~ ~ (II ~ V ~ I) if we accept that chord IV and ii are ynonymou in function a they are in Lendvai' ytem. 233 A Skryabin forge a path through the 'cycle of fifth', he thu end as () ripple backward. he three function S, and thu acquire the tatu of pat, preent and future. he 229 emperley, 'he Line of Fifth'. emperley' article poit an infinite chain of fifth which are enharmonically ordered a a line rather than the more traditional circle. 230 Gille eleuze and avid Lapoujade, wo Regime of Madne: ext and Intervielll, (New York: MI Pre, 2006), Lendvai, Symmetrie of Muic: An lntmd1tction to the Semantic of Mwic, lbid., Lerdahl dicue the way that chord function can change. Beethoven' 117aldtein Sonata begin with a repeated C major triad, which we no doubt hear a But a it immediately move to a 7 chord and i followed by G, we can retropectively hear the C triad a S. aniel Harrion and Kevin Swinden dicu the hared S function between ii and rv. Lerdahl, onal Pitch Space; Harrion, Hamtonic Function i11 Chromatic lvluic: A Renewed llalit heory and an Account of It Pruedmt, ; Swinden, '\'V'hen Function Collide: Apect of Plural Function in Chromatic lv!uic', 60 ff. 146 Chapter!'our

150 baed 'deire' tructure contantly chae their ever-deferred object and each failure i hitorically laid to ret a a S function. And becaue Skryabin reit definitive cadence, he ever-defer the approach. time FIGURE 4-13: S,, f\s PAS, PRESEN AN FUURE hi i a linear model of 'deferred' tonal function, but when the concept of 'ubtitution' enter the arena, thing change dramatically. 'Subtitution' offer a way of avoiding the enharmonic bridge- it redirect the line, allowing it to continue it exertion of force. he line i all about 'demand'- a demand whoe failure, like Lacan' model, i ultimately aborbed by the circle. A Circular Model In traditional diatonicim, the chord hold an innate drive to dicharge itelf onto a chord, but the S chord ha no uch obligation and it i almot a matter of pure convention that the S chord precede the in the archetypical rv -7 V -7I progreion. 234 Of coure, a Rameau wa quick to mention, the frequent ubtitution of IV for ii in the ii -7 V -7 I cadence maintain a cycle of fifth motion. hi lead aniel Harrion, and more o Kevin Swinden, to label the progreion S -7-7, a I have previouly hinted. 235 On the mot baic level thi progreion become circuitou if ubtitution occur in the S function. hi work optimally if the S function i embodied in a ' minor eventh' chord, becaue the C (7) dicharge to the F (S), contained in the ' minor eventh' complex), and the 7 element of thi S function reolve tog (), which in turn reolve to C (7). hi mot baic form of circular ubtitution underpin Lendvai' 'axi ytem'- the ubtitution of a major chord for it' 'relative minor'. he following rotational diagram can be drawn: 234 Lendvai doe produce a complex 'overtone' theory to upport chord IV' compulion to move to V: Lendvai, Bila Bmtok: A n Ana!Ji r.if Hi Muic, Harrion, Hannonic Functio11 i11 Chromatic i\1u.ric: A Rene1ved 11alit heory a11d a11 Acco11111 r.if It Precede11t; Swinden, '\Vhen Function Collide: Apect of Plural Function in Chromatic Muic'. Harrion alo dicue the hifting emphai (termed 'balance of power' and 'functional muxture') of both function within chord ii 7, Chapter Four

151 I V~ IVS FIGURE 4-14: SUBSIUION r\n HE LOCAL Rcnxrro OF, SAN \V'ben Lendvai' complete ytem i added to thi model, a broader 3- cycle impoe itelf, reducing the local -7 S -7 to epicycle, rotating within the larger circle. Hence the following model: -.. B!:> E... FIGURE 4-15: CIRCULAR MOEL OF ile SUBSIUIONAL CYCLE OF FWri IS 236 hi model, content to expoe the functionally rotational dicharge y tem, i indifferent to ubtitution. he rotational path of the three function run the contant rik of intervention from 'ubtitute'. hu, through ubtitution, the, Sand function are kept in perpetual orbit of the 'cycle of fifth '. Subtitution, a with my linear model, circumvent the 'enharmonic bridge', creating the potential for perpetual continuity. ~ 2 6 -' he S,, model i deigned to be laid over the more complex model to how how different pitche relate a three eparate trand. Chapter Four 148

152 Skryabin: Synthetic Model How do thee model complement each other? he circular model, with epicycle orbiting a broader cycle, can re-infonn our linear conception. Now, a time pae and the harmony orbit a cycle of fifth, each new 'obj ect' force a ro tation of the functional epicycle rather than commute function to an ever-diipating S function. o highlight thi, figure 4-16(a) how a harmonic progreion which accee the cycle if fifth, by running alongide it for four notche, yielding a erie of dicharge, functionally labelled -7 S -7-7 FIGURE 4-16(A): FOUR NOCHES AROUN 'HE CYCLE FIFHS' \Vhen a new linear 'demand' i m ade, thi progreion extend to five notche, and the function attached to individual chord hift around the cycle, thu: -7-7 S -7-7 nmc W11C FIGURE 4-16(B): FIV E N OCJI ES AROUN 'ile CYCLE OF F!Fl'IIS' An iue arie from thi: how do we pinpoint tonal function if they o fluidly refue to be labelled? Ultimately, of coure, we can't One need the cycle to approach a table tonic centre, but, a thi centre i o ften the one thing that Skryabin refue to give, the tak become difficult. hi topic will be a running concern throughout the remainder of the thei. Chapter Four 149

153 Macrocomic Fifth Rotation: Sonata no. 6, Op. 62 Of the variou function of ubtitution, I have o far only reviewed it a preparation to direct dicharge. But, a illutrated in Feuil/et d'album, Op.58, ubtitution can lead to indirect dicharge. In Skryabin' later work, where there i not uch a dene urface of dicharge, axial rotation of the cycle of fifth i ued to great effect through uch indirect dicharge motion. In Sonata no. 6 Skryabin aemble an artificially tatic drive-tructure that alternate t3 drive within a ingle axi. hi i perfectly expected; the work i one the mot conitently octatonic of Skryabin' piece, and, a we know from analyt uch a Pieter van den oorn, octatonic collection ymmetrically produce tritone and minor third 'node'. 237 But the following analyi uncover a mobile tonal background to thi tatic octatonic rniddleground. Conidering Claude Herndon' analyi, that the 'harmonic ballat' of the onata i chord V 7, thi i hardly urpriing.: 38 In addition, the analyi will demontrate that, even in the mot ymmetrical mode, -7 dicharge flourih and alway threaten to erupt through urface crack. he octatonic cale (the 'Jon-po!Jton' (tone-ernitone) cale) i hitorically the harbinger of 'mytery' in Ruian opera. he ame i true of the whole-tone cale, aociated with a "lack" of deire, a depicted by Glinka in RJfSian.n 9 he element of 'mytery' correlate to 'the ubconciou', 'the drive', the 'feminine': Kriteva' chora. 240 One could convincingly argue thi on Lacanian line, alluding to a work uch a Rimky Korakov' opera Sadko (1897), whoe fantatical depiction of the underwater palace of the ea-queen call upon octatonicim.~ 41 arukin inpect the econd cene of Sadko, and find 'triadic octatonicim'. He highlight the way that Rimky interject the octatonic 'ea muic' with a perfect cadence a Sadko enter, thu keeping alive the practice- thriving ince Glinka- of depicting humanity through 'fifth relation' in contrat to chromatic 'fantatic' being. 242 he cadential dicharge here (m. 20) repreent the human dicharge of ymbolic deire, which i alienated from Lacan' he Real. m Pieter C. Van den oom, Stravinky and tbe Rite of Spring: he Beginning of a Muiral Language (Oxford: Oxford Univerity Pre, 1987) Garcia, Alexander S kryabin and Rlmian Symbolim: Plot and Symbol in the Lote Piano Sonata, arati cite the cene depicting emomor' realm a built on thi mytical whole-tone 'lack': arati, Myth and Muic: A Semiotic Approach to the Aethetic of Myth in Muic, Eperiai!J bat of 1 17agne~; Sibeliu and S travin-9, hi view contradict Berthold Hoeckner' aertion of Lizt' Mountain Symphony: "the ymmetrical diviion of the octave, a product of humanity; the non-ymmetrical relation, a product of nature." Berthold Hoeckner, Programming the Abolute: Nimteenth-Century German lvluic and the Hermwmlic of the Moment (Princeton, N.J. ; \XIoodtock: Princeton Univerity Pre, 2002), he tone poem Sadko, Op. 5 (1867) i the firt intance recorded by Meiaen of the 'tone-emitone' cale. Richard arukin, 'Chemomor to Kahchei: Harmonic Sorcery; or, Stravinky' "Angle"', Joumal of he Ame1ican Muicological Sociery 38/1 (1985), Ibid., Chapter!'our

154 5 p - L - = u: ~v ~- F IGURE 4-17: ARUSKlN'S QUOAION FROM SAKO, AC I, Sc II, MM wo world are depicted in Sadko: (1) the mercantile world of ymbolic exchange and commerce in Novgorod and (2) the underwater kingdom. In the ame way that Katherine Bergeron map ebuy' Pellia e/ Miliande onto the Freudian triangular tructure of the unconciou (the ego, the uperego and the id), o do Freudian theorie apply to thi opera. 243 imon Morrion attempt a Freudian reading of S adko, ituating V olkhova the ea prince a the "maternal figure", "a manifetation of primary Bergeron, Katherine, Milimnde ' Hail; in Smart, Sirm Song: Repreentatiom of Gmder and Sexuality in Opera, 164. Chapter f'our 151

155 narciim", aligning thee propertie with her octatonic muic. 244 But the two world in Sadko can alo map the Lacanian model of the Real and the Symbolic Order. he Real (underwater kingdom) i the 'fluid' libido that ignore the ocial rigour of financial and matrimonial commitment that exit on land. Underwater, Sadko i free to direct hi libido toward the ea-queen. At the cloe of the opera, after he ha returned to land, the ea-queen urface, mirroring the Lacanian 'Return of the Real'. Why i the opera Lacanian rather than Freudian? Becaue the underwater 'inner world' i an ordered kingdom, replicating the 'ocial order' of the outer world, whilt preerving a primitive tate of exitence. hi i the Lacanian unconciou that 'i tructured like a language'. But to prevent a digreion into a mere plot analyi, let me return to my point of departure and alvage the following potulate: the myteriou, alluring, feminine, Rea/world i depicted uing the octatonic collection, and thi Ruian trope feed into Skryabin' late tyle. o keep apace with Skryabin' ue of octatonicim, the reader i directed to the work of George Perle, Cheong Wai-Ling, Jay Reie and Richard aru kin. ~ 43 hee analyt demontrate how Skryabin write octatonically, but alo highlight octatonicim' dialogue with whole-tone cale and mytic chord. Reie analye the ue of conventional paing note, appoggiatura and neighbour-note figure to account for extraneou tone to thee collection. And thi conventionality at work within octatonicim ha been the primary concern of my own analye of hort, late piece, where tonal modulation cheme rotate the three, Sand axe. Now I follow thee relationhip a they expand over larger ection of a major work. A naphot of the Sixth Sonata would reemble a tandard onata form model uch a thi: Expoition mm evelopment mm Recapitulation mm. 208 ff. Running through thi model i the following tonal progreion, uncovered by the axi ytem: Expoition -7-7 S (m.64) -7 evelopment (m.128) Recapitulation (m.252) Roland Willman maintain that there are tranpoition of the 'baic cale', but ugget that they merely erve to "avoid monotony". Furthermore he aert that "rather than coinciding with the 244 Simon Morrion, 'he Semiotic of Symmetry, or R.imky-Korakov' Operatic Hitory Leon', Camb1irlge Opera ]o11mal 13/ 3 (2001), Perle, 'Scriabin' Self.Analye'; Cheong Wai-Ling, he Late Se1iabin: Pitch Organiatio11 and Fonn i11 the ff:7ork of (Ph, Cambridge Univerity, 1991); Reie, 'Late Skriabin: Some Principle Behind the Style'; arukin, 'Chernomor to Kahchei: Harmonic Sorcery; or, Stravinky' ".Angle"'. 152 Chapter Four

156 piece' formal juncture, they are ued to produce flowing, barely perceptible tran ition." 2 ~ 6 hi uppoed dijunction between formal articulation and tonal operation will be the focu of my ubequent inquiry. But before examining the implication of thi, I offer a brief ummary. he expoition ketche a -7 S pattern, covering the firt and econd ubject group. he development then begin conventionally in the. he recapitulation conflate the -7 S pattern of the expoition into a ingle region. hi recapitulation contain a mall coda-like ( -7-77) re-emphai of the -a familiar trope of claicim. But of coure the initial -7 S tranition deviate from the claical paradigm. he expoition would normally polarie the and region; Skryabin, rather, maintain the 'cycle of fifth' -7 S -7 motion, fuing it flawlely with the onata form model. hi background cheme ha hitherto evaded the onata' analyt. Rather than provide relevant drive ana!je to accompany the appropriate excerpt from the core, I have included the entire graph a Appendix C. he reader i invited to conult thi graph in conjunction with the muical example. In many cae, the drive ana!ji graph, which ftlter the core by reproducing it pattern more viibly, i the more acceible reference point. Formalitie Unurpriingly the axi ytem i outlaid in the expoition. Mm excluively draw from drive on G, P, BP and E. Mm encloe the firt pure cycle of tl1e four drive, unfolding BP to E to P to G (ee figure 3-26). hu, until m. 14, when Skryabin drop to a GP a -orjve> the pure axi aturate the texture. onde carerante fl !I 51 ~ r:--r-. I t),~lr,,. r...!if r ~ llp-; l'q~p /!I- tttf -I I~...,.....r r..,. ~.,. 11r r ~qt. I t ~. ~ F IGURE 4-18: SONAA NO. 6,.NfM Some equivocal point of formal articulation mut be conidered at thi point. On the broadet level I concur with the formal diviion offered by Willmann, but would argue that Skryabin' axi ytem impinge upon them, uggeting lightly different theme tructure. Willmann cite the 'firt ubject' a mm , and the 'econd ubject group' a mm Hi reaoning take account of the claical four-quare phraing which diolve into tranitional material. But examining the expoition from the 246 Roland Willmann, 'Alexander Skryabin' Si..'l:th Piano Sonata, O p. 62', Joumal qf I be Soiabifl S ociery l!f Amenca 8/1 ( ), 23. Chapter Four 153

157 purview of the axi ytem allow a modulatory proce to emerge from m. 39; thi overlap \V'illmann' 'econd ubject'. I conider thi to be 'tranitional'. l rev. prend forme(clarti, douceur, pu,.llte) 1".J.- ~. F)GURE 4-19: SONAA NO.6, M. 39 FF.- SECON SUBJEC OR RANSIION? he drive ana!ji graph (Appendix q how the rigid axi ytem beginning to break down here. In contrat to the pure region (G, Bl>, l>, E), 5 chord now tart to hroud onoritie. Whilt m. 39- the point of origin of Willman' 'econd ubject'- begin on a pure drive on l>, belonging to the region, a prompt merger with the 5 region i preaged when the drive on Bl> in mm dicharge indirect!j into a drive on El> in m. 47, mediated by a 5 ubtitute on Gl> in mm hi new 5 drive on El> tritonally ubtitute itelf a a drive on A to maintain the 5 region, but thi tranitional paage behave like the Kritevan 'thetic phae': the ubject i pulled back and forth between two region. In mm Skryabin retreat to the region with drive on Bl>, E and l>. charmtt F IGURE 4-20: SONAA NO.6, MM hi l> dicharge indirect!j into a Gl> drive in m. 62 and tabilie the 5 axi after a brief retoration of the a a Bl> chord. By the time m. 69 arrive, the 5 region i comfortable, and thi i where the 'econd ubject' truly begin, combined with mazurka-like rhythm. Chapter Four 154

158 '-._o;: charmu F!GURE4-21: SONAA NO. 6, MM hi reading find encouragement from Skryabin' florid performance indicator. My 'tranition' \Villmann' 'econd ubject'- i ecorted by "le revi prend forme (clarti, douceur, pureti)" (the dream take hape, brightne, gentlene, purity). hi crytalliation of the poetic 'dream' confirm the function of tranition; the conequent avec entrainment (with energy) implie the newly haped, tonally ecured idea. And one mut not undervalue melodic tability here; tl1e five-note acending cell i announced a a new theme, upporting the new hannonic terrain. Of coure thi all revere the poition of the claical 'lyrical econd ubject'. Skryabin, ever concerned with evolutionary ytem, manoeuvre from a lyrical, 'dreamy' beginning to a rapid, vertiginou dance theme. Even o, what could thi revealing 'modulation' ignify other than a tranition, ecreted at the thematic croover point of two contrating, octatonic, axial, drive ytem? And the recapitulation unerringly mirror thi expoition' tructure, thu corroborating my formal diviion. Rather than commence in the region, the region of the 'development' i eamlely prolonged. hu, oppoing the claical archetype that convert the I-V expoition into the I-I recapitulation, Skryabin tranform the I-IV expoition into V-I, fahioning a I-IV-V-I deign. he formal deignation I offered for the expoition remain perfectly intact in the recapitulation, the fll1al return to the region coinciding with the avec entrainement. hi circular onata cheme, in contrat to the traditional oppoitional cheme that i baed on dialectical tonal argument, permit Skryabin to afeguard a broad tranpoition of the expoition without further modification. hi aid, he doe provide flahe f elaborate variation in hi Byzantin r capitulation. Chapter Four!55

159 he 'development' ection, beginning atm. 124, i equally informative. he econd ubject' S region i promptly converted to an unpolluted region when the C/F~ polarity dicharge into F/B in m hi new region ettle on a drive on F, from which vantage point the 'relative minor' ubtitute become obtainable, relocating u to a /RIVE on (m.133). Mm contain a bitonal cycle of fifth / AP-7G/P-7C/GP. hi purue a local pattern which coil back upon itelf when Skryabin reviit the axi in m poco piu vivo rit. 5 lento ~ ~ -_,_,;:;; -... vivo G 5 Chapter Four 156

160 FIGURE 4-22(A): SONAA NO.6, MM ~ FIGURE 4-22(8): SONAA NO.6, MM A fleeting glance at the drive ana!ji graph undercore Skryabin' maintenance of the region throughout the remainder of the development. It eem that after the initial developmental 'cycle of fifth', Skryabin trive to make it a tonally table a poible. hi i yet another reveral of claical procedure. he development- the mot untable ection of a onata- now become the bedrock of the piece. hi i hown clearly on the dn.ve ana!ji graph, particularly from m. 186 where we encounter an unadulterated axi. Summary In ummary then, clearly articulated axe merge into each other fluidly at thematic juncture of the onata, creating a rigid background tructure that rotate the -7 S-7-7 cycle. o thi end, Skryabin maintain a claical 'onata form' in which 'functional rotation' oppoe the 'Sonata Principle' that alternate In o doing the emphai hift from a onata model baed on tonal dialectical argument to one baed on libidinal flow. Whilt each ection how ignificant devotion to the t3 related drive of each axi, Skryabin lip between functional axe in a modulatory fahion to reinforce the onata' formal diviion. hu, in Sonata no. 6, Skryabin lay careful foundation for tonally functional dicharge at the macro level of tonal tructure. Previou commentator have found atifaction in thi 'middleground' (an octatonic layer), ignoring the 'background' functional level. But the foreground i equally ignored; in fact the onata i burting at the eam with dilocated drive energie that find expreion only at the foreground. Chapter Fo ur 157

161 Of coure, in moving into the realm of pot- tructural pychoanalyi, the Schenkerian 'foreground, middleground and background' model decontruct itelf, turning itelf inide out, like a miibitt trip.~ 4 7 Freud' unconciou i the tructured background- the Oedipu Complex- which map to Schenker' background. But a Freud' model i decontructed by Lacan, a new background of free floating drive i preented, which can ironically only be glimped between crack in the urface. he deep background and middleground model become the dipoitifthat i o carefully crafted by Skryabin into a neat, preentable parcel. hee tructure become Lacan' Symbolic Order- the fale repreentation of the drive energy beneath. With drive ana!ji, in examining the Schenkerian foreground I am actually trawling the repreed underbelly of the onata. Far from a Schenkerian 'bottom up' Aukomponienmg (background to foreground motion), the foreground of Skryabin' muic i the 'multivalent drive' from which the macro-tructure i created. hee drive-dicharge are located at the background of the onata, forming an octatonic (drive-excluding) middleground, from which ~ dicharge take line of flight into the foreground. icharge Sifting through the drive that lie on the foreground of the piece reveal countle occurrence of... diatonic dicharge. A in the philoophy of Lyotard, libidinal energy exit in exce of the apparatu it create; dicharge flow between the rigidly octatonic language. In mm the axi ytem reveal a mall cycle of fifth in the manner of Poem, Op. 32, no. 2. A preliminary S drive on BP i heard with a ba pitch from the axi -F-in m. 24. In the econd part of the meaure, the drive and the ba unite in the ame / -RIVE on F. And thi F i the pringboard for a cycle of fifth, interrupted by t3 leap: F (m.24)~ BPI E (m.25) ~ I ll I G (mm.26-29)~ Gil (m. 30)~ B(O)IF (E#) (mm ) ~ E (m.34). 248 In thi way the BPIE axi i 'prolonged' analogouly to the Schenkerian paradigm. Baker illutrate that uch local cycle can prolong a ingle function; in hi dicuion of A lb11m Leaf, Op.45, no.l he claim, "Such circular progreion alway erve to prolong a ingle harmony- in thi cae the. " 249 tome he mohiu J'l!ip, which know no inide or outide, i an image commonly drawn by Lacan, Lyotard and eleuze. 2<18 In thi nom enclature, '/ ' repreent t3 or t6 'ubtitution' Baker, 'Scriabin' Implicit onality', 5. Chapter Fo ur 158

162 unp~uplu=~lt~n~l ; > ~ 1 t I FlGURE 4-23: SONAA NO. 6, MM And many other dicharge pattern propagate on the octatonic bedrock, marginalied in favour of the powerfully repreive axi ytem. o illutrate the neted dicharge in Chapter 3 I drew on a paage from thi onata (mm , figure 3-15). Although aembled from axi 'block' (G#, F,, B), the following progreion bleed into it: F#-7 B/-7G-7C-7 F. he effect here i redoubled by the ucceeding paage of the development (mm.l91-204), where Skryabin excluively draw upon the axial drive, completely eradicating (repreing) dicharge (ee Appendix q. hi wa one of many potential example, and a can through the drive cma!ji graph undercore a wide range of uch intertwined dicharge. H er arc two mor example: Chapter Four 159

163 Mm here are variou dicharge in thi paage: B/F (m.233) ~E (m.235) ~A / ~/F #/C (mm ) ~B (m.237). hi produce a localied,, S pattern which, again, recoil upon itelf. he S, whoe four axe are fully unfurled in mm , lead to an i11dired dihharge from drive on C (counter pole off~) and Eb to B. FIGURE 4-24: SONr\A NO.6, MM Mm In m. 328, after the initial major chord, B/F a- 0 RJVES emerge (mm ). hee dicharge into BP/E 1-oRJVES in mm. 330, whence ani-rive (pure tritone) of A/Eb emerge in the ba. hi S-baed tritone challenge the newly etablihed region, reached through urface dicharge. FIGURE 4-25: SONKrA NO.6, MM Compoitional Freedom and the ritone Link A illutrated, whilt Skryabin et up a rigorou octatonic middleground that i not o far removed from ernova' model, he contantly hatter it from within, allowing errant drive to ecape and Chapter Four 160

164 flourih above the otherwie prohibitive tonal ytem. he 'neted dicharge' i only one route for libidinal energy to breach the autocratic tonal regime. Skryabin chooe to ubvert the ytem in other way too. Another mean i to rupture the ertwhile tricdy octatonic t3 baed network of drive relation by harmonically compounding drive with different permutation of relationhip. Such ubverion erve to further critique the hegemony of Varvara ernova' 'tritone link' relationhip. A examined in Chapter 2 and 3, my whole drive theory i baed on the freedom of expreion of individual drive, and my graph are deigned to ignify thi. Let u can a few epigrammatic relationhip found in Sonata no. 6 before integrating the finding with much richer theorie of tonal pace in Sonata no. 10, Op. 71. he whole-tone relationhip hi i one of the tronget drive relationhip in Skryabin' language. A hown in Chapter 2, it occur in the mytic chord and in any intance where authentic S and chord are compounded. Example can be found in m. 243 when the a-rives on G~ and form i-rives on B~/E, related to the G#/ by a whole-tone. hi latter ~~RIVE i immediately conolidated a a I-RIVE on E when the upper trill in the left-hand i initiated. hi relationhip i alien to ernova' ytem. II 'I L...L..J FIGURE 4-26: SONAA NO.6, MM he perfect fifth / fourth relationhip A common apect of octatonic practice i the materialiation of tritone. hee often combine and relate to each other by a fifth or fourth. In m. 321, for example, i-rlves on F~/C and B/F are formed; though bound together by a tritone, they relate to each other by a fourth (F~ ~ B, C ~F). Again, thee relati?nhip are precluded by ernova. Chapter Four 161

165 F lguilli 4-27: SONAA NO.6, l'vll\ FF he major third / ixth relationhip here are comparatively few intance of major third relationhip in thi particular onata, but they do appear from time to time. he following example highlight the interconnectedne of thee relationhip. he a-rive on F# in m. 181 generate uch a ixth/ third relationhip with the a-rive on (pilling over from m.180) but alo create a whole-tone relation with the a-rive on G#. FIGUilli 4-28: SONAA 0. 6, M!\ he major third relationhip i certainly marginalied in thi onata but feature prominently in Skryabin' latet work, a fact much overlooked in Skryabin tudie. Whilt major third do not hare the prominence they enjoyed in Beethoven' late tyle, they will certainly be aimilated into my forthcoming dicuion of Skryabin' lat onata: Sonata no. 10. In Chapter 2, I dicued the fact that thee drive exit in a polytonal univere. I howed how Baker wrongly characteried ernova' ytem a a formulation of polytonality, and thu dimied it out of hand, for which arukin reproached him. But with Lendvai' axi ytem, polytonality i reduced to a pecific kind of ubtitutive 'monotonality' where four chord expre a ingle function. Applicable a thi i to Sonata no. 6, enough polytonal pace mut be recuperated to aimilate thoe drive relation that the axi ytem exclude. o thi end I turn to the work of another Neo-Riemannian: Richard Cohn and hi hyp r-hexatonic. And to accompany thi, I turn to kryabin' final onata. Chap1 er f'o ur 162

166 Sonata in Focu: Skryabin' Sonata no. 10, Op. 70 Can one co ntruct a imilar rotational tonal model of the enth when, becaue of the kaleidocopic ucceion of different pace in thi work, the axi ytem appear to crumble? he enth Sonata combine two dicernable type of pace: (1) minor third baed pace (which uit axial ubtitution and it rotational dicharge) and (2) major third baed pace (which I will ituate within current analytical thinking in due coure). hi patial alternation complicate matter, and one face two methodologie for building a model of thi onata: (1) ubume major third relation into the minor third baed 'axi ytem' and labels, and regardle (thi i what the axi y tem i deigned for after all), or (2) admit a new model of pitch pace into the broadly axial analyi a and when major third pace appear. hee two approache are not mutually excluive, rather, they function ymbiotically throughout the following dicoure. But rather than move from background to foreground a I did for the Sixth Sonata, where I followed an underground tonal current until it ephemeral pring urfaced a A ukomponierung, I now work from the foreground to the background. In thi way the tonal bedrock of thi trange onata will materialie deep below. he jutification for thi procedure will be found through it outcome. \Vhilt onata 6, 7, 8 and 9 have been the focu of variou analytical diection, each one upported by a particular theoretical method, Sonata no. 10 ha eluded analyt, probably on account of it uffuion of eparate tonal pace. 250 Section of the piece are freely contructed from octatonic, whole tone or mytic collection; the piece therefore invite drive ana!ji, which indulge patial variety. Upon completion of thi analyi, remarkable pattern emerge that enlighten u about the integration of tonal pace that organi_;e the drive. hi drive ana!ji comprie A ppendix. My ynthetic Lendvai / Lerdahl ubtitution grid i deigned to render t3, t6 and t9 operation but now the iue of major third relation i raied. he major third - 'interval-4 cycle'- i the cornertone of N ee-riemannian theory, epoued mot rigorouly by Richard Cohn. Cohn howed that Romantic compoer utilied the moothet poible 'voice-leading parimony', 25 1 and for thi reaon he triected the major cale into third to yield four group o f major chord and their minor variant. hee ix triad ('hexatonic' node) are 'maximally mooth' a each require only icl, ic2 or ic3 operation to tranform into another chord from the hexatonic y tem. Cohn label hi pole Northern, Southern, E atern and Wetern, prompted by a remark from onald Franci ovey regarding Schubert' tonal 250 Wai-ling examine the ixth and eighth onata, continuing the work of Perle: Wai-Ling, he Late S mabin: Pitch 0 1ganiation and Fo1m in tbe Work of He alo tackle the eventh onata in article form: Wai-Ling, 'Scriabin' "\Vhite Ma": ialogue between he "Mytic" And he "Octatonic".' Each late onata i analyed in Suie Garcia' thei, uing her own thematic methodology: Garcia, Alexander Skryabin and R11Sian S) mbolim: Plot and Symbol in the Late Piano Sonata. A tudy of the Fifth and enth onata i undertaken by Baker in line with Sckenkerian/ Fortean analytical method: Baker, he Muic of Alexander Soiabin, " Cohn, 'Maximally Smooth Cycle, Hexatonic Sytem, and the Analyi of Late-Romantic riadic Progreion'. 163 Chapter Four

167 E+ ~+ G-8&+ a,... Wetem G+ B+ F-eot.+ q - Eatem F+ A+ F.+ 'tar cluter', and it i undertood that compoer unfold chord progreion that moothly manoeuvre around one particular pole before modulating to other. ~ 52 E-C- C+ Northern GJ- B- A- Ff Southem B!,+ Blr- F IGURE RIO IJ\R COl-IN'S FOUR HYPER-HEXAONIC SYSEMS Cohn elliptically introduce hi own form of 'ubtitution', though thi differ from Lendvai'. 253 Highlighting how three of thee geographical pole can repreent the, the Sand the, Cohn leave a fourth pole unaccounted for. 254 It i unclear whether he conceive thi functional equivalence a ubtitution or imply a a kind of inter-regional modulatory ytem baed on the kinhip of chord through maximally mooth parimony. In either cae, the premie of thi equivalence i certainly not a forcefully conceived a Lendvai'. How, for example, doe one account for the fourth extraneou cycle? Working in C major, the fourth cycle contain the chord of, which could ugget an 'auxiliary function'. Swinden may perhap refer to thi a as function of the P (dominant preparation) or (dominant of dominant) type. But however thi fourth cycle i conceptualied, in combining Lendvai' and Cohn' ytem, I fue a tri-functional with a tetra-functional ytem. Before attempting uch a ynthei, I examine Skryabin' ue of major third baed ytem in the enth Sonata, allowing the muic itelf to indicate the correct approach. 252 Richard Cohn, ':\ Wonderful a Star Cluter: Intrument for Gazing at onality in Schubert', 19/b-Cmtury Muiic 22/3 (1999) \'V'hilt decribing Cohn' model of tonal region (hi jig.4'), the author claim, "he notion of "region" here generalize Riemann' harmonic function in the pirit of Emo Lendvai' "axi tonality", but along different line. Lendvai focue on the functional equivalence of pitch-clae related by minor third, wherea the region of fig.4 ugget functional equivalence between harmonie whoe root are related by major third." Ibid., Cohn filter hi reading of Schubert' Bl> major Sonata through hi model of tonal function. Ibid., Chapter Four

168 Major third relationhip are certainly marginalied in dicoure on Skryabin' muic. arukin tellingly find tructural cadence in Prelude, Op. 48, no. 4 that outline C major and it "hadow"- E and Al>though hi dicovery i left theoretically open. 255 More pertinent to thi onata i Jame Baker' oblique invitation for analytical attention to be paid to the major third through hi uggetion that the enth Sonata draw heavily from et hi et comprie two emitonally eparated augmented chord - i.e. C,E,G~/B, ~,G In turn, it comprie full triad in three chord - C, E, G~ - eparated by major third. Picking up where Baker left off, I propoe that paage o f the onata are contructed no t only from thi 'et', but alo from thee derivative chord. hree repreentative epiode o f major third pace ('Cohn pace') are invetigated below. Paage 1: m. 37 ff. Skryabin deploy baic J and /F- 0ru~ to Cohn' Eatern cycle. Originating in m. 37 with drive on F, thee progre to l> (m.40) and A (m.44) -ee A ppendix. In m. 50 repreentative from the Northern cycle are encountered- plain triad (rather than drive per e) on FP (hown on A ppendix a E~), Al> and C. Skryabin rather looely lip back to the Eatern cycle in. mm before conolidating the Northern in m M. 57 however, reviit more familiar minor third territory, emphaied by C, A and EP drive which pollute the major third cycle. Allegro avecemouon arukin, 'Review: "he Muic of Alexander Scriabin",Jame M. Baker & "Scriabin: Artit and Mytic", Bori e Schloezer', Baker, he Muic of Alex ander S criabin, 206. Chapter Four 165

169 fl II , :; w:; g ~: rp~ ~ a~1' :;q~:; w _ inguiif -. w,. ~: ~ &w~ ~~ ~~ j)..,. _!./ ~~- 'Z: j ~~ b-r.-/ FIGURE 4-30: SONAI\ NO. 10, MM Paage 2: mm A imilar expedition i undertaken in the onata' development ection a Skryabin explore the Northern cycle through a modified tranpoition of Paage 1. Here, a ucceion of /-RIVES on AP alternate with If-RIVES on E. hi latter drive, protracted through mm , reache out to a complementary h;;;_riv E on C. he other pole- E and AP- begin to alternate more rapidly. Chapter Four 166

170 - 1I.,. I} "~ ~~~ 1 r;; ~ rj,. - r- ~ d~ ~~ - q ~ i 41- -/' F IGURE 4-31: SONA1\ NO. 10, MM In m. 169 we are channelled to the Wetern cycle. hi dicharge back into the Northern in mm , and in m. 173 Skryabin move to drive on G, which naturally ignal the return of the Wetern cycle. Chapter Four 167

171 _ i ~ '---- ii.. ~... 4t ~~ '"'~ '- - Pill" P ~t... I '"""'--" ~ '1i - *--- Ql!ec u ne douce iljrre 3 ~ F!GURE4-32:SONAAN0. 10,MI'vl In m. 177 a further S dicharge into the Southern cycle i preented initially a a G!> forjve> morphing into a /-RIVE hi further dicharge into the Eatern cycle. hu we pa through the Northern -7 Wetern -7 Southern -7 Eatern hemiphere. In m. 184' return to the opening material, as -7 Chapter Four 168

172 dicharge from l> (m.183) conduct u to the Al> of the new Northern cycle. hi /-RI VE drive notably contain pitche Al>, C and E, an embodiment of the cycle a a chord. Paage 3: mm hi paage i located after the climactic point of the piece, when a confuing deluge of minor third related and major third related drive begin to orientate itelf toward pure major third relation in a recontextualied reprie of paage 1, until m epite the imilarity of thi ection to paage 1, the difference of m. 237 jutify it analytical attention. Chapter J7o ur 169

173 -- _{)._ l ti i rw:; ~.,... : -,.. q~ i :; ~:; ";-: ~ ~~~a,,. :;q~ :; ~ ~: - ~ b~ Pit,/' "'- ~ =.,..,. m.$. """'.. '""'"., 1 FIGURE 4-33: SONAA NO. 10, Ml\ In m. 220 imultaneou drive on B/#/G repreent the \Vetern cycle, but imultaneou drive on C and E in m. 221 relocate u to the Northern cycle. At the moment of change, a double-barreled dicharge carrie the f orives on G and B into C and E. In m. 222 Skryabin enter the Eatern cycle with yntheied F and A minor chord to mark the point of 'recapitulation' of Paage 1. Although thi Chapter Four 170

174 recapitulation maintain the ame functional activity to begin with, from m. 236 thee function are freely recompoed. Indeed m. 236 itelf, the point of deviation from the expoition, combine F and f, triad vertically; thoe element which were previouly horizontally contrated are now combined. Middleground: onal Functionality in 'Cohn Space' A I have indicated, Cohn' regard for the four cycle a tonally functional i non-explicit. But in Skryabin' compoitional practice, direct dicharge between regional cycle enhrine functionality. For intance, in mm (paage 2) Skryabin unveil the E!J triad from the Wetern cycle and immediately dicharge it into the A!J forjve from the Northern cycle. In another intance a doublebarreled dicharge, already mentioned in relation to mm , occur when the Northern cycle dicharge to the Wetern (G/B-7C/E). In mm , when Skryabin modulate from the Wetern back into the Southern cycle, there i an EfJm-7 BPm S dicharge. Such S dicharge are actually more common in thee hyper-hexatonic hift than one would imagine, given the nature of Skryabin' drive flow. Such dicharge propagate in mm (paage 3) when Skryabin move from the Eatern to the Northern cycle (A 7-7E). In the earliet ection of'cohn pace' (paage 1), one find the ame modulatory dicharge operation when the initial move from the Eatern to the Northern cycle in mm i channelled through a S dicharge (fj-7 AfJ). But when Skryabin move from the Northern back to the Eatern cycle in mm , a dicharge (C -7F) accompanie the manoeuvre. hee modulation lend credence to my diagnoi of thee cyclic witche a 'functional' change; their trongly articulated bai in 'fifth' imbue them with direct dicharge. We can thu adduce hypothetical tonal pattern that form Skryabin' cycle-rotation: Paage 1: Paage 2: Paage 3: E-7 N-7 E -7 N N-7 W-7 N-7 W-7 S-7 E S-7-7 S W -7 N-7 E -7 N-7 E -7 N -7-7 S-7-7 S-7 Each paage contain as dicharge that temporarily revere the cycle. In paage 3 the reveral feature at the end of the progreion, retracing tep from S -7, and in paage 2 we find a S -7 in the firt intance and -7 in the final. Paage 1 offer a much impler fonn of/ alternation which conequently call upon both Sand dicharge. Of coure one could quetion the label of, Sand that are applied to each of thee regional middleground progreion. My 'top-down' approach 171 Chapter Fo ur

175 denie me the luxury of a hegemonic chord that would ituate uch progreion within an overarching tructure. Let it proviionally uffice to note that each i drawn intinctively, though a local ene of orientation around a. My primary goal i to how that Skryabin ue ~ S ~ ~ rotational procedure, however reitant the muic may be to functional pecificity. hat i to ay that, at middleground, I am a content to label a progreion ~ S ~ a S ~ ~ or ~ ~ S. And o we arrive at the hypothei that Skryabin modulate through hyper-hexatonic cycle, hifting tonal function in the proce. Yet thee dicharge do not rotate a in the Sixth onata; the functional chain of connection ha been weakened. Foreground: Functional icharge Within Cycle he functional pattern illutrated above are ituated at a middleground level. Here, functional label are applied to cycle of ix tonal chord, cycle that interect each other and thu change function. At a level cloer to the foreground however, functional rotation act within thee major third cycle. Given that each cycle contain three node (a major third apart), the label of S, and eem to align themelve quite neatly. At firt glance, thi hypothei find little upport from harmonic theory; the progreion between cyclic node are 'maximally mooth' and therefore cloely related. 257 hee parimoniou chord do not eem to hare a tenile relationhip analogou to a and, but Lendvai' axial ubtitutional procedure invet them with functionality. Lendvai' ytem i, after all, the paradigm of our cognitive experience of Skryabin' work. hi integration of the two pace will be familiar to devotee of the 'axi ytem' in any cae. Lendvai view the three tonal region - S, and -a 'major third' related. A oppoed to the I-IV-V-I cadence of claical harmony, the tonic, ubdomi.nant and dominant function are mot powetjit!!j repreented by the three degree which divide the fifthcircle into three equal part- thu contituting an augmented triad relationhip. For example C-E AP-C, in the ene of tonic-domi.nant-ubdominant tonic. 258 Reviiting Lendvai' model of the axi ytem (figure 4-1) one find the three function embodied in major third related chord- C, E, and AP. But naturally, my rotational model, baed on the baed tenion of Skryabin' cycle of fifth, proceed around an authentic C ~ F ~ G ~ C progreion. 259 In "paage 1", when hyper-hexatonic pace firt appear in the enth Sonata, Skryabin initiate the S function (h;;;_rive on P) in m. 43, ucceeded by the (h;;;_rive on A) in m. 44 and the (h;;;_rive on F) in m. 45. and S function then alternate in the manner of a~ ~ codetta; the function are 257 In fact Skryabin' rather trict ue of major chord mean that chord within cycle are alway either ic2 related or ic3 related, and there are very few icl relation. 258 Lendvai, Symmetrie of Mmic: An Introduction to the Semantic of lvfuic, One mut be mindful that, in paage of major third rotation in thi onata, the function are generally embodied in either weak drive (with ambiguou 'major eventh') or plain triad. 172 Chapter Four

176 hunted around the S-7-7 cycle, thu: S-7-7S. A pure -7-7pattern take over a Skryabin modulate into (and out o~ the Northern cycle in mm , the latter reulting from a direct dicharge (C-7 F). hi inter-regional cyclicity i elucidated in the Northern cycle that pae through -7 S-7 (mm ). A the hyper-hexatonic pace diolve into the minor third pace, with the drive on F replaced by drive on El>, Skryabin prolong the function until the p dicharge in m. 62. In "paage 2", Skryabin advance around the Northern cycle with a!-rive on AI> (m. 160), and drive follow one (m. 161) and C (m.163): a -7S-7-7rotation. In mm a new -7S-7 rotation i activated, and in m. 175 the Wetern Cycle i travered. M. 178 yield a Gl> - the axial functional equivalent of the El> drive -which lip into the Southern cycle on thi occaion. Little time pae before we lip further from Gl> to drive (7). Once more, hyper-hexatonic pace materialie from the midt of minor third ubtitution pace in "paage 3". he drive delineate B, # and G chord in m Skryabin immediately dicharge from B toe; thi dicharge i enunciated in 'Cohn pace' with a triple-barreled dicharge. Of coure, whenever drive appear together in 'Cohn Space', there i necearily a functional overlap; in thi cae B I G-7 El C i codified a IS -7 SI. hankfully, thi confuion i tranient; functional unfolding i le ambiguou when Skryabin move to the Eatern pole. In m. 224 drive on F lip to the ic2 related l> (m.225) and again to A (m.229) before returning, via ic3, to F (m.230). hi harmonic arrangement repeat, yielding the following functional progreion: -7 S S-7-7 (mm ). And o, within hyper hexatonic pace, Skryabin allow axial ubtitution to rotate foreground dicharge. A hown, thee operate within larger, and freer, middleground motion between hyperhexatonic region. he Integration of Minor hird and Major hird Related rive In the dicuion above, I indicated that thee type of pace are contantly exchanged; patial region interrupt and interect each other. here are variou novel way in which thee two different type of tonal pace weave through the harmonic fabric of the enth Sonata, both vertically and horizontally. a) he opening meaure (ee figure 4-34) introduce thi patial dialogue. Appendix how that the drive initially ocillate between, Band AI> in minor third pace. And yet the ba pitche of thee drive are vertically dijointed, eparated from the main drive by a major third. hi i not uch a rare phenomenon of coure; thi i eentially a erie of 'firt inverion' drive. But 173 Chapter Four

177 uch configuration are relatively carce in Skryabin' repertory and, a hown, the ba can embody a drive tructure of it own. b) Horizontally, variou flahe of rapid patial ucceion occur. In m. 9, drive on All and Fare articulated, and m. 13 upport a drive on Cll, coeval with the etablihed minor third pace. But a drive on C (mm ) indicate major third pace. 0 and C now alternate until m. 17, each pitch repreenting it own patial type. Moderato tre doux et pur poco rit. - au.c wn- ardtur profondtet voilio 3 3 [ill F lc. URE 4-34: SONKL\ NO. 10, MM Chapter Four 174

178 hi aid, the mot conitent mechanim for patial interaction i modulation. Lerdahl would call thi f?yper-modulation. Let u extrapolate from a few of the more ubtle patial interection. a) he opening paage mainly utilie minor third pace, but a tranition lead to major third baed "paage 1 ". ritooe related drive ( and All) are revealed in m. 32, and Sk.ryabio embed a fifth-cycle: ~ G ~ C ~ F. 260 Arriving at the drive on F, an interjecting drive on A lead immediately to Coho' Eatern cycle. b) he ection leading to m. 154 ("paage 2") exploit minor third pace from the axi (, F, All), but a turn toward the function i inaugurated by a drive on C (m. 151), relaying the All' major third cycle. hi upurge of major third pace appear iolated, but dtive anafyi how how thi triad on Ci replaced by a minor third related drive on F (m. 153)- a dicharge? which link back to All (m. 154) via pitch dicharge on BP ~ EP ~ All.~ 61 hi prime u for entrance into the Northern Cycle, where the initial Ci reintated a a true member. hi whole manoeuvre wa prefigured by brief, iolated expreion of the Southern cycle (mm ) within the etablihed minor third pace. Yet on other occaion the alternation of pace i a technique for modulating between the different functional area of a ingle type of pace. a) In m. 56, a Sk.ryabio modulate between the Northern and Eatern cycle, the C ~ Ell drive progreion, create a 'minor third bridge'. b) Mm unfold all three pole of the Wetern cycle- G, B, EP. hi latter EP dicharge itelf onto an All, briefly travering it Northern partner- E (m. 171). But tlu drive one move to an extended minor tlurd related drive on Gin readine for a return to the Wetern cycle. Such progreion cro-examine the nature of 'dicharge'. For intance, do the drive on E and All dicharge onto the drive on G? he drive on E hare the ame function a the G and i therefore equivalent, but the All drive i imbued with a function - an indirect axial dicharge. c) In m. 178 Sk.ryabio croe from the Wetern to the Southern cycle and, again, thee are bridged by minor third dicharge. he drive on Ell of the Wetern cycle only dicharge plagally onto Bll whilt a minor third related drive on Gil i enunciated. hi Gil drive interect it Southern related drive on, but in m. 180 when Sk.ryabio leave thi 'Southern' Cycle, he lead u to a drive on the minor third related F. 2 6 A G~ / G trill bear the p -dicharge from tog, and the C and E pitche of m. 37 ketch-out the C chord. 261 hi pitch dicharge i not hown on Appwdix due to it rapid melodic preentation. Chapter Four 175

179 Conequently, the minor third cycle provide mobility to major third cycle. When major third cycle diolve, Skryabin inject minor third relation to channel the drive energy to new cycle. 'Background': Functional Specificity or Arbitrary Aignation? Having decided to approach thi analyi 'top to bottom', it i time to ue data from drir;e ana!ji to excavate the deepet level of the work. hi will involve the greatet leap: finding a tonic (or at leat a controlling, tonal point of focu). he aignation of tonal function in thi late work i not imple; function collide in far more ubtle way than in other piece which I have elected for crutiny. hi leave a number of problem for the analyt: 1) In Sonata no. 10, myriad foreground circular progreion are embedded in large ection, creating functional diverity, where a ingle tonal function preide over the other. hi neceitate a 'top - down' type of analyi, where we analye a pecific paage and decide which tonal function- often among many- eem to predominate. 2) he onata eem to rotate S-ward and -ward with relatively equal frequency at it middleground. hi i hown mot clearly in the three 'Cohn pace' "paage" which I elected. 3) he two patial trand have markedly different characteritic. 'Lendvai pace', ue minor third a machine of tranmiion; they are the conveyor between area of major third repoe. But more than thi, they frame and control the dicharge of the onata - they are the libidinal channel. 'Cohn pace', by contrat i depicted a a poition of relative tability; thee ection are zone in themelve - ettlement rather than the carriageway; they become Niroana, depicted through triad and 'major eventh' (low drive value) chord. hu, to pinpoint a tonic i an extremely difficult and tenuou enterprie; thee four major third area are relatively equally poited throughout. 4) One mut face the fact that, a the function rotate, the function i governed by difftrance.~ 6 ~ he i a lippery foreground element, ever elided through the predilection of dominant to reolve onto new dominant. However much my functional rotation model grew directly from tonal paradigm and operated around a pecific tonal centre, in thee late work, the tonal centre i alway deferred. hee problem could preclude the poibility of a litener attending to a ingle function, and could ugget 'arbitrarine' on the part of the analyt in electing a tonal centre. hi arie only in the late work, and i eentially a dialectic of linear and circular pace. In a Lacanian fahion, the drive rotate z<,z ijftra11ce i a erridean term contructed from both 'differ' and 'defer'. See Jacque errida, 'ifferance', in ivlargim of Philoophy, ed. J. errida (Chicago: he Univerity of Chicago Pre, 1982). 176 Chapter Four

180 their object in circular pace, making temporary demand on it through linear pace. And yet the circular drive motion carrie on in petpetuum and, through the lack of tonic chord, the background -7 S-7 tructure continue their orbit. he become a proviional, the Sa proviional Sand the a proviional. In fact their true function are robbed, and the tonal univere become entirely relative; the drive relate only to each other rather than being tructured by an abolute tonic, which through Lacan, wa expoed a arbitrary and fale in itelf. But linear Ltuanian demand, which try to pinpoint a tonal centre- a tranitory a they may be-, can help u to adduce a working fundamental tonal aignation. Like Sonata no. 6, /imar tonal demand reach-out in pecific direction: 1) One could claim that the firt firmly articulated drive appear on in m. 3. Like the earlier Poem, Op. 32, no. 1, whoe analyi opened thi chapter (in the ame key), the 7 drive, urrounded by it concomitant pole and counter pole, can ignify it own toniciation proce and thu indicate the pecific chord of a a tonic. 2) hi view of the a crytallie in the final moment of the onata, when F become etablihed a a peudo- through - ba motion (the final ba Ci heard a an openended pitch). Apart from citing the opening a an Ab tonic (the tritone pole of my ), Suie Garcia agree: "he epilogue reaffirm the triumph of the tendency off by tranpoing the onata' opening four meaure, originally in.ab, into thi, new key of divine aertion." 263 F belong to the ame axi a, a doe the enharmonically outlined B major triad that melodically accentuate mm M. 373 alo affirm a drive on Ab, completing the axi. FIGURE 4-35: E ING OF SO AA NO. 10 pp "I 'I ~ "I 'I p \:.1 3) Between mm onoritie excluively contain drive from thi ame axi, apart from a very mall -7 S-7-7 configuration in mm hi mall rotation i, of cour, the factor that confirm the axi, by allowing it to run it dicharge coure Garcia, 'Scriabin' Symbolit Plot \rcherype in the Late Piano Sonata', 299. Chapter fiour 177

181 I chooe therefore, to apply the axi y tem rigorouly, labelling the, Sand accordingly a it run through hexatonic pace. In order to deal with moment of patial variety, I conduct a frequenry a11a(yi, by which I temporarily diregard the leat frequent tonal function and elicit only thoe that more forcefully command the tonal motion of a particular ection. For intance, mm betray all three tonal function, but the S predominate in the main, emphaied on one occaion by a clear IV-V - I ba figure (mm ). Looking at the whole onata then, the following model preent itelf. Oben re how it rotate function imilarly to the Sixth Sonata, replete with a coda-like retatement of -7-7 function FIGURE4-36: Fu CfiONAL ROAION MOELOFSONAA How doe thi proce accord with the piece' formal diviion? Baker' analyi of the movement mark the following tructural poition. Expoition evelopment Recapitulation Coda FIGURE 4-37: BAKER'S SONAr\ MOEL Apart from the recapitulation, which I would claim begin two meaure earlier to incorporate the lumineux vibrant motive from the expoition, thee diviion are clear and logical. 264 Patently, thee diviion do not coincide with my harmonic diviion, which indifferently undercut thee point of formal articulation. Yet thee, S, cycle are not a ambivalent a they may eem. he opening function run through the introduction, flowing into the Sat m. 40 a the ' firt ubject' take hape. he function (which interject with a imilar triadic trill figure to m. 37) contain the entire 'tranition' / 'econd ubject' combination. he reetablihment of the (m. 132) occur, unuually, 111 the middle of the development ection, but coincide with a return to the opening phrae. Although thi introductory theme i a t2 preentation (and hould therefore embody a different tonal function), the Al> nature of the onority now fill mm. 132 more fully, emphaied (a) through the heavier ba articulation and (b) through the over-pill of the Al>-G!I melodic character of the previou meaure. he chord i now refracted a a through the fact that the malleable /-RJVE cover three tonal bae. 264 Skryabin begin the recapitulation proper with m. 37 from the expoition, thu imbuing mm with an introductory fu nction. Chapter Four 178

182 . ' [ill] tr- If...-tr-- IF-- tf!-- fi llflb;.- ;,... 1=1, ~r--.,...a 8 ~ ~~~~.hjq~bj ~H~~hl tj - fcwec une joie ubite dl'm.poco a poco., J ( ~) (~) J-tft.>. ~ II... ~tl ""... tj... ; f ~. ~ b.. r ~ ~~ r" J. -I - 1 ' 1ft! dim. F IGURE 4-38: SONAA NO. 10, MM hi geture reonate with the claical 'fale recapitulation'. In actual fact Skryabin now offer numerou 'variational' exploration of thi opening figure, playing it 'off againt the 'firt theme' (from m. 37). hi whole procedure help to conolidate the function. But although I have articulated one large ection- mm a -7-7 functioned, many 'middleground' -7 S-7 progreion rotate within thi frame. hee occur at variou point, notably: mm , in an exploration of Cohn' Northern cycle; mm ; mm in the Eatern Cycle; other imilar cycle appear on Appmdix. he weighting of thee cycle i clearly variable. A large tructural cycle underpin the expoition, whilt middleground cycle thrive in the latter part of the development. What doe thi ignify? It how that, in thi more daring onata, Skryabin looened the bond between formal articulation and hannonic drive to create two trand that hare a tenile relationhip. onal function, only tentatively fixed in itelf, now challenge tonal boundarie, creating a fluid dialectic. hi further looen the harmonic drive; they are neither fixed to a tonic, nor a tructural framework. epite thi, the final vetige of claical tonal function cat a hadow over the whole drama. Chapter Four 179

183 he Way Ahead With the cloe of Chapter 4, thi thei now take a ditinctive and, it i to be hoped, appealing turn. Having ketched out my 'drive theory' and acquainted the reader with Skryabin' facinating drive operation, I have made only vague reference to Skryabin' philoophy. Chapter 2-4 have conequently been analytically dene. he following three chapter take ideward tep, by le obliquely yntheiing Skryabin' cultural-philoophical univere with hi muical world. hi will reinforce drive ana!ji, but will gently move it forward through ynthei with philoophical and cultural conideration. If Chapter 2-4 appealed more to 'hard' analyt, the remaining chapter, which take detour through four of Skryabin' mot philoophically laden work, will afford a refrehing change to advocate of 'New Muicology'. Chapter Four 180

184 Chapter Five Ero & hanato: Melodic rive and heir Gendered Role in Skryabin' Philoophy In nat11re, animal repreent activi(y, the male. he grojjjing JIJorld i the female, material, 11lill-le and paive. Here again i polarity. o y o11 11ppoe there i ome act betjjjeen them poible - a polarity act? Sex. Ye, I m11t take JJJalk more often. It i 11ejuL 265 Alexander S kryabin In an attempt to cordon-off dn.ve ana!ji I have focued excluively on the flow of harmonic drive at the expene of thoe in other parameter which can exert force. In Chapter 6 thee harmonic drive find a home in Skryabin' idioyncratic pychology/ philoophy a I explore the embodiment of hi 'world hitory' in the muical framework of Ver Ia Flamme Op.72. But before thi, drive ana!ji mut be fortified by tackling Skryabin' melodic drive ubtance, appealing to gender tudie to integrate it with hi philoophy of muical repreentation. Skryabin' melodic tructure act a interface between two dichotomie which were inherent in the cultural milieu that engulfed him: (1) life veru death and (2) maculine veru feminine. hi tudy will ituate thee dualitie in both Skryabin' ideology and hi muical compoition. Melodic rive At the rik of empowering Skryabin to dictate my analytical approach from beyond the grave, it mut be noted that hi tetimonie to hi own compoitional technique are excure into the field of melody, rather than harmony, with a bent toward Schenkerian voice-leading: "ake for example my Concerto. he bedrock of it deign i the decending equence of note. Againt thi background the whole theme grow and unfurl." Sabaneyev report, "He played me the theme of the Concerto and accented thee decending tep richly, and the melody took on quite a different meaning and ene." Skryabin then aert that he exalted thi practice into a definite principle, "more conciouly and on a broader cale." 266 hi aid, Skryabin did famouly tre, "here i no difference between melody and harmony. hey are one and the ame." 267 Given that my drive ana!ji i baed on the ame melodic premie a Leonard Meyer, I make no excue for returning the ball to him. Of Meyer' innovation, the 'gap-fill' that model melodic undulation i the mot relevant development to drive ana!ji. Built on the ame premie a Henry Watt- that " to pa over a no te immediately create a deire for it" Bower, Scriabi11: A Biography 2, Bower, S CJiabi11: A Biography 1, " 67 Bower, Saiabi11: A Biograply 2, 204. Chapter l'ive 181

185 Meyer ugget that a "tructural gap in melody create a tendency toward 'filling in"' and contruct h c ll. eli 0 68 t e to owlng para gm:- gap fill & rrr~ FIGURE 5-1: MEYER'S 'GAP- FILL' 269 A melodic kip tend to revere and articulate the omitted tone by moving in the oppoite direction. hrough thi tructure, rie and fall motion delimit and regulate each other. In Skryabin thi 'gap-fill' i dicernible through two antipodal melodic outgrowth: the acending kip of a fourth ('the gap'), and the chromatically decending line ('the fill'). According to Meyer, and later Eugene Narmour, when any interval i heard, the immediate tendency i for that interval to repeat until it reache a table tone. A Meyer claim, "Once etablihed, a pattemit~g tend to be continued until a point of relative tonal-rf?ythmic tabiliry i reached" 270 Narmour claim, "all thing being equal, mall interval imply both continuity of regitral direction and intervallic imilarity". 271 Ergo, a chromatic pattern of decending tone tend to be continued, whilt a riing fourth or fifth alo ignifie it own perpetuation. But Meyer ugget that a reveral of any etablihed pattern i alo ignified on the ame bai. Skryabin, like any compoer, counterbalance two drive through thi procedure. What Skryabin doe differently from other compoer i to magnify thee antipode, availing himelf of an unbroken chromatic Ur-motive ( 'motive ~')a nd an unmitigated fourth-acending Ur-motive ('motive 0'').~ 72 Before examining how thee depict gender and erotic experience, I briefly urvey their mot prominent muical prototype. Like many other work, he Poem ojecta.ry contain both figure in yntactical ucceion. Said to be the theme of 'elf affirmation', the riing fourth/ fifth i anwered by a chromatic decent: motive c)' i ubequently counter-balanced by motive ~. 273 't ~I J J. f, -=- J1 r ~r r I r ~r J.. }I FIGURE 5-2: POEM OF ECSASY 268 Leonard B. Meyer, Emotion and Meaning i11 Muic (Chicago; London: Univerity of Chicago Pre, 1956), 131, Leonard B. Meyer, he Sphem of Muic: A GatlmiJig ofeqy (Chicago: Univerity of Chicago Pre, 2000), Meyer, Exp!ailling Muic: Eqy and Exploration, Eugene Narmour, he Ana!Ji and Cognition of Baic Me!odi, Stmcfure: he Implicafion-Rtalization Model (Chicago ; London: Univerity of Chicago Pre, 1990), he term Ur-mofive i applied to Skryabin' intra-opu motivic interplay by Ellon Carpenter: 'Scriabin' Octatonic Motive', Joumal of the Smabin Society of A11mira 8/1 (2004) Bower, Scriabin: A Biography 2, Chapter f'i, c

186 Sonata no. 3, Op. 23 foreground a imilar proce; Ellon Carpenter audit the many variant of the following 'anacrutic-fourth' figure. c 74 FIGURE 5-3: SONAA NO. 3 Again motive Si? ucceed motive 0 in thi intance, but thi linkage i not excluively yntactical ince the two contrating motivic unit can interlock in numerou way. Some of thee way will be traced through melodic diection of Sonata no. 4, Op.30 and Prelude, Op. 74, no. 2- Skryabin' lat opu. But firt my gender categorie mut be marked out. Before conolidating an analytical invetigation with a cultural exploration of Skryabin' own theory of gender repreentation, I lay the foundation by ifting through the muical repertoire with which Skryabin wa acquainted. Muicology i relatively accutomed to d1e ene that onata theme can be gendered to depict erotic encounter. he main thrut of Suan McClary' work wa the appropriation of the term Maculine and Feminine by A.B. Marx (the complete work of whom tand proudly on Skryabin' book-helf), to characterie the firt and econd theme of a onata deign. he reponibility of correlating thi with Skryabin' muic ha been the vocation of Suanna Garcia, who compared 'plot-archetype' in the late five piano onata.c 75 I now ubmit that melodic/ motivic drive can aume gender function and convey narrative account of erotic experience more immediately than cumberome thematic contrat. Motive Si? and Femininity Gille eleuze undertood the chromatic line a 'a line of flight' from tonal (arborecent) ytem, contrating it ue of 'force' with it enemy- form. hu he return u to the field of 'drive'. 276 In muicology, Suan McClary expoe the decending chromatic line (motive o) a a trope of female eduction in 19'h century opera, uggeting that Bizet confine Carmen to uch utterance, the famou Habanera being the principal illutration. Feminine control correpond to the rate of chromatic decent; Carmen playfully linger over certain pitche to ecure power over her uitor.m he initial wave of feminit muicologit in the 1980 drew out thi chromatic element of womanhood; Catherine Clement' Opera, or the Undoing of IPomen, for intance, explored Iolde' chromaticim in titan. 278 Of coure her book i more polemic than analytical and citation from the core are carce, but a metonymic chain of cultural aociation bridge the cham between womanhood and chromaticim. Reproducing legend that aociate rainbow with femininity, he illutrate that the 274 Catpenter, hn11r1tic evelopmmt and Contin11ity in the w PianoS onata of Alexander S niabin, 56 ff. 275 Garcia, Alexander Skryabin and RIISian Symbolim: Plot and Symbol in the Late Piano Sonata; Garcia, 'Scriabin' Symbolit Plot Archetype in the Late Piano Sonata'. 276 Gille eleuze and Felix Guattari, A bowand Plateau: Capitalim and S chi:;_ophrenia (London: Continuum, 1988), McClary, Feminine Ending: M11ic, Gwdn; and Sexuality, Catherine Clement, Opera, or the Undoing of ll?'o!jji!ii (Minneapoli: Univerity of Minneota Pre, 1988), Chapter rive

187 rainbow, with it chromatic deployment of colour, repreent women who occupy the pace 'in between' the tone: "Even in death: Iolde die a only a woman can die, by mall interval". Furthermore, for Clement," (chromaticim'] rie, it decent, it imperceptible liding are profoundly eductive." 279 It i alo common for the concept of decent itelf to repreent womanhood, a found in Robert Schumann' five-note decending 'Clara motive '.~ 80 But male writer too focu on Wagner; Stephen owne cat the eduction of the iren of annbauer a a paradigm of muical eduction; he alo follow arukin in locating the Ruian nega figure in certain chromatic moment, and aociate thi with an "orientalized female Other". 281 Wagner certainly occupied Skryabin' young mind, although Skryabin called ritan " formle" during one particular Wagner 'tudy group' at the Mocow Conervatoire.~ 8 ~ But continuing owne' iren illutration, the character of Venu gain chromatic intenity a annhauer ecape her clinging grap. eploying the ame tremolandi that later portray the tar in Wolfram' Act III prayer 'a cheinet du, 0! lieblichter der Sterne', Venu ue chromaticim to regain ome degree of control. In actual fact it i the unconciou voice of the orchetra behind her purely diatonic melodie that chromaticie the cene: "Venu, mvering her face with her hand, t11rn paionately awqy from annhauer, after a pa!ije be t11m to him again miling, and with a eductitje air." he orchetra mimic her beguiling mile. Moderato ~ 8"' I I p pp FIGURE 5-4: WAGNER'S ANNHAUSER 2 79 Ibid., 57, ij(} Melinda Boyd, 'Gendered Voice: he Liebefriihling Lieder of Robert and Clara Schumann', 1!Jh Cmtury Muic 23:2 (1999), owne, S :ryma11o1vjkt; E 1vticim and!be 7 oice if lv!j tbology, 24; he Mme a Ero: Mmic, E mtic Fanla.ry and Male Cl~ativiry in tbe Roma11lic and Modem Imagination, Alderhot: Ahgate, 2006, Sabaneyev, Vopomina11jya 0 Skryabine, Chapter l'ive

188 Notice that when Venu lip into an imperative tone ("Lover, come!") he hift to her 'maculine' ide, outlaying motive 0 above her chromatic motive ~. Motive 0 and Maculinity Kurth call thi riing interval a "ymbol of vaulting"; " it i a motion that reache at the height, that jut up into the vaulting pace." 283 Furthermore he claim that thee "interacting conitent drive" lead to energetic procee.~ 84 hi aertive, imperiou line of fourth, aociated with the world of military horn call, ha exhibited the manline of many an operatic hero. he character of Siegfried i often cited a the influence to Skryabin' failed attempt at opera in 1904, and Siegfried' debut in he Ring i fairly typical: 7 Hoi - ho! Hoi- ho! Hau' ein! hau' ein! F IGU RE 5-5(A) : S IEG FIU E 'S E RY IN 'ile RING' hi paage from Parifal i alo typical. Although G urnemanz outline a complete major triad in hi initial vocal entry, he oon eliminate the extraneou third in further utterance of Act 1, Scene 1: GURNEMANZ.. : Jetzt auf, ihr kna- ben! Seht nuch dem Bad. Miiig bcwcgt. Now up, my chi!- dren! Look to the Bath. J J ):,.J n...,.. ~ : ~... :... :~:: t "" I J - : - { ~ ~ ~ ~ I I r1 l I :. ~.. :J p I r 7 p :J - FIGURE 5-5(B): GURNEM..'\ NZ' E RY IN 'P ARSIFAL' Iolating uch trope i a relatively unproblematic enterprie. A more challenging hermeneutic obj ective i to engage with thee ymbol and allow them to narrate erotic muical drama. o thi end, we require a compoition that combine three thing: (1) documented muical ymbolim, (2) an extramuical framework and (3) a cultural background that upport gender analyi. Fortunately, thee coalece in Skryabin' Fourth Sonata ' Kurth, Em/ IVnth: Selected IVriling, 193. ~Il-l Ibid., 22. Chapter Fi, e 185

189 A Polarity Act? Erotic Experience in Sonata no. 4 Feeling that the drudgery of teaching had tifled hi creative talent, Skryabin abandoned hi pot at the Mocow Conervatoire in 1903, devoting himelf excluively to compoition. Many idea that had been getating during thi time flowered into ome of hi finet compoition, yielding a urge of muic often referred to a hi 'middle period'. It wa during thi time that Skryabin became preoccupied with the mytical and the erotic. Particularly reflective of thi period i the Fourth Sonata in F~ Major, Op. 30. he muic i complemented by an unpublihed example of Skryabin' linguitically over-charged poetry, in which a uperhuman, god-like being i enticed by a ditant tar, which he flie toward and blifully envelop. he rwo movement follow the poem' teleological form in one of Skryabin' earliet attempt to create a tate of ectay, ymbolied by 'flight'. In a light mit, tranparent vapour Lot afar and yet ditinct A tar gleam oftly. How beautiful! he bluih mytery Of her glow Beckon me, cradle me. 0 bring me to thee, far ditant tar! Bathe me in trembling ray Sweet light! Sharp deire, voluptuou and crazed yet weet Endlely with no other goal than longing I would deire. But no! I vault in joyou leap Freely I take wing Mad dance, godlike play! Intoxicating hining one! It i toward thee, adored tar My flight guide me oward thee, created freely for me o erve the end My flight of liberation! In thi play Sheer caprice In moment I forget thee In the maeltrom that carrie me I veer from thy glin1mering ray Chapter l'i, c 186

190 In the inanity of deire hou fadet 0 ditant goal But ever thou hinet A I forever deire thee! hou expandet, tar! Now thou art a Sun Flamboyant Sun! Sun ofriumph! Approaching thee by my deire for thee I lave myelf in thy changing wave 0 joyou god I wallow thee Sea of light My elf-of light I engulf hee! 285 here wa a tendency among Skryabin' circle of poet, artit and muician to divide their philoophical and aethetic idea into categorie of gender. Bori de Schloezer offer a taxonomy of my tic in hi book, S kryabin: A rtit and Mytic. He ay, "If we draw our categorie according to the relationhip between the my tic and the Unique, it i poible to poit two type of my tical experience, paive and active, feminine and maculine." 286 He claified the 13'h century mytic Meiter Eckhart and St. Angela of Foligno a feminine; thee people extinguihed their will power in trance-like tate, epitomied by Mme. Guyon in 18'h century France who came cloe to death in uch a tate of paivity. We could add Skryabin' revered Helena Petrovna Blavatky to thi lit of coure; he believed herelf to be writing her heoophical landmark he Semi octrine under telepathic intruction from her mater in ibet. 287 he maculine type of my tic wa very rare; Schloezer name only Jakob Bohme, decribing him a an "active", "virile" force. One of Skryabin' own pronouncement in hi notebook ituate him in thi dichotomy: "I want to wallow all and include (all) in my individuality. I want to give (to the world) pleaure. I want to eize the world a [one would eize] a woman." 288 Skryabin wa to be a maculine, all-conuming life-giving force. 285 Bower, Sc1iabin: A Biography 1, Bower, he Ne111 S mabin: Enig111a and A nwer, Helena Petrovna Blavatky, he Secret octrine: he Synthei rf Science, Religion and Pbi/oopby (Paadena: heoophical Univerity Pre, 1999). Skryabin obtained a French tranlation of thi book and integrated many of it concept into hi own philoophy. 288 Bower, Sm'abin: A Biograpl!J 2, C hapter Five

191 In the Fourth onata, the maculine and feminine principle, which Skryabin regarded a 'active' and 'paive', become the ubject of an intimate muical drama. aking a cue from Skryabin' poetry we find that gender i unveiled when the object- the 'ditant tar'- i referred to a 'her'. 289 It i fairly a fe to aume, given Skryabin' frequent pronouncement about the concept o f 'flight' and hi real-life flying experiment, that the poetic ubject i maculine and no le a being than himele_2 90 he opening meaure embody thi gender polarity. Here, two voice imultaneouly unfold, both delicately moving in contrary direction, creating the warming enation that counterpoint i being born. Andante J= 63 J.----J. > J.--J.J, 6 con voglia,_ J rubato ~====== :~ FIGUR.E 5-6: OPE lng M EASURES OF SONAA NO.4 And thee voice correpond to motive ~ and motive rj, now unveiled imultaneouly rather than ucceively. he firt onority in the left-hand i eentially an.f orjve on B: a 'major-eventh chord' in which the outer part channel the interval of the eventh. A parallel chromatic decent appear and lat throughout the firt four meaure: motive ~. FIGURE 5-7 : P,\V\LLEL ESCENING SEVENHS: MOIVE ~ 289 hi ynonymity of tar and femininity wa a common trope of Skryabin' writing. Even thi early love letter to hi weetheart atalya Sekerina in 1893, betray thi: "he tar i o beautiful, and I o love my tar that if [ cannot gaze on it, if it cannot hine down o n me in my life, and if I cannot fly to it, then thought perihe, and with it everything ele. Better that I diappear in mad flight toward her. So the idea will remain, and that will triumph." Bower, Sc1iabin: Enignta and A nnver, It appear that Skryabin genuinely believed that he could fly. He apparently tried to convince George Plekhanov that "here are no obtacle to manifeting our will. he law of gravity doe no t exit. I can throw myelf from thi bridge and I will not crack my head on the tone. I wil l float in the air. hank to will power." Bower, SCiiabin: A Biogmpi!J 2, 96. Mercifully, Skryabin choe not to demontrate on thi particular occaion. 188 Chapter Five

192 But thi mooth chromatic obj ect i heard beneath a riing erie of fourth in the upper voice, moving from ~, through G# and C~, to a diplaced F~: m otive (J. FCr f r ff I F IG URE 5-8: RISING FOURHS: MOIVE (J r Rather than connect to a melodic chromatic decent, thee fourth continue their trajectory, and balance i retored contrapuntally by the decending chromatic voice. he two paradigm are uperimpoed rather than juxtapoed. M.6 of thi onata howcae yet another borrowed geture from opera. Over a tender, lulling rhythm, parallel ixth dicharge the tenion of the eventh of the opening chord. In opera, inging in ixth (or third) i a trope employed at moment when character unite. Barricelli call the third, " the mot obviou harmony for two peron." 29 1 At firt glance, Skryabin' favourite opera ntan and Iolde appear to be an inappropriate model becaue, when the character initially drink the love potion, mot of the ubequent dicoure of Act I call for undiluted octave. But thi i maybe 'jut the drink talking' for mot of their Act II dicoure adopt uch parallel third and ixth at moment of affinity. hi paage from he F/ying utchman i telling. uring Senta' duet with Eric, the pair ing alternate line which interect only rarely. But Senta and her newfound love the utchman ing in cononance from the tart. ea duroh ol - I th:ro1 811Ch Hell, o AI'l-ller, dir dorclunich n la Uhro'me Wlt find re-le&e &t chen En - gel 1. gel, 291 Barricelli, J ean-pierre, Lizt' Joumry lb!vugb ante' H ereafter (Bucknell fuuie111, XXVI, No. 2), Chapter Fi, e 189

193 o. - -.,.~~ _ > :::0.;>..J.l'!t ':'h~o.... w n.i-d' e8, du!rinte!jdlr dmrll Jill... l thro' me!ihallflll4ft1m\~lihlll\.... il. I..--; - - _M..oc ~--~ _:,.. ::.., J'!~ rfj!ttmiij Vllrdr e durch olchenen gel mir zube;wurtfndurcb&olc. n:rngel thit J thro 1 ~;~h u u-gel might ha.~peace,tba.u tlu'o~an a~ggej t:\... ;:. u. -- ~ t.\ t:i -- - I F GURE 5-9: UE & ERZEro, HE FLYING UCHMAN, Acr II -- hi opera i highly relevant to model of gender in muic; Hepokoki call the overture one of the "mot archetypal, mot powerful muical contruction of gender". 292 Skryabin however, eem to have preferred Wagner' later opera. In m. 6 of the onata thi unification of the two voice eem to be complete. he lower chromatic voice ha curbed the upward thrut of the riing fourth and pulled the F# downward to create the atifying octave diplacement. But thi harmonic union pan only a ingle meaure. he dominant eventh on G# (II 7 ) that underpin the geture, reolve to a C# eventh chord 0/ 7 ) for a ingle quaver before an obtruive 'wrong note' throw a panner in the work- an Fx marked 'con voglia'. hi 'wrong note' come from the expectation that the upper # (6) would reolve naturally a a upenion to a en (S), and thi minor ixth drop come a omething of an interruption. hi dropping figure become a alient motive at the end of phrae throughout the onata. It alway appear at moment where the voice fail to unite and where the expected tonal reolution i taken to new harmonic area. Perhap thi i another geture from opera, where a deciive tatement- often of dimial- i upported by a melodic drop. In ritan thi happen everywhere, particularly in the many intance where the lover repeat each other' name in a deperate bid for unification, but each repetition erve only to highlight their individuality. hi intance from the end of Act I i particularly repreentative. 29 ~ J Hepokowki, 'Maculine - Fernine', Mmiml ime 150 (1994), 498. Chapter rive 190

194 fl?? f) fl~ f) ri - - tan! ol - - del flp-~ - I ri { f.}.ff I...,_ ~~ - I I #-~ l'..a. #-' #-.r : ~ - l,...j...j 3 FIGURE 5-10: RISAN AN ISOLE: 'FALLING SIXHS' A imilar motive i heard in the love cene from Siegfried. Jut before Bri.innhilde ing her beautiful "Ewig war ich, ewig bin ich", he begin to how ign of doubt and turmoil. &~ 1,, l r p p I f ~J J } } I J l rau ri - ge un - kel triibt mem-em Blick. b &~'' l J J Jl I j:j I l J ( 1$ J l Me in Au - ge diim- ~:rt. mem Licht ver-licht. F IGURE 5-11: SIEGFRIE: "EWIG WAR C!-1, EWIG BIN ICII": FALLING SIXHS he melodic drop in the onata fall from the note# (6), imultaneouly prolonging the pitch from the ftrt bar and reducing the voice of riing fourth to it tarting point - quare one. Indeed the voice immediately ue a imple cale tore-emphaie thi 6 through an appoggiatura in a ritaneque 'longing' motive. { tj con voglia ~5----, fl II!I I I " J I. mba to h:g:. n. ", ' I F IGURE 5-12: 'R!SANESQUE LONGING' "'f:~ he 1itan chord it well here a Skryabin' poem refer to the ubject having "no other goal than longing"- the deire to deire. Skryabin undoubtedly mued upon the concept of deire leading only to renewed deire in hi youthful reading of Schopenhauer and obviouly felt the reonance with Wagner. Chapter r ive 191

195 In m. 19 of the onata Skryabin launche into a development of thi 'longing motive' in divere key. He generally eem to interpret the rijtan chord a a French Jixth, accented through an appoggiatura. hi reolve to the dominant, indicating the tonic only through implication. In thi way Wagner' opening to rijtan preent the key of A minor through ue of a French ixth moving to a dominant eventh without actually preenting a pecific tonic chord. he tonic i the abent goal. pp!>vi----~ v----~[i] FIGURE 5-13: INERPREAION OF RISAN PRELUE And thi i how tonality i implied in the Fourth Sonata; Skryabin exploit many key relationhip of varying tabilitie. In fact he indicate no le than ten different key throughout the movement without ever giving definitive cadence. Moreover, thee French Jixth chord frequently approach the dominant a if it were atifaction in itje/f, requiring no tonic; thi further detabilie tonal function. FIGURE 5-14: RISANESQUEARICUL\IONS OJ; KEY Here, the trill, which i uually an embellihment of a dominant chord, actually decorate the peudo French Jixth creating the illuion of a chromatic move tog major rather than to C major. hee modified cadence occur in many ditantly related key, alway earching for a tonal object of atifaction, finding only tranitory moment of gratification. enion i only ever partially dicharged. he only cadence per Je i offered in m. 14 in the key of BP. Upon retatement of thi local tonic atm. 16 however, the melodic material from the 'union of ixth' i now preented incompletely a a ingle monodic voice. hi erene voice oon decend from it angelic height, chromaticie itelf and lead to the characteritic dropping ixth. hi time the ixth i intenified with cro-rhythm in the lower part - a new dijuncture. Chapter Five 192

196 J.---J v F IGURE 5-15: FOURH SONAA, MM If the gender dichotomy I drew from the opening bar fail to convince- the muic being tinged with an atmophere of "light mit" and "tranparent vapour" - it clearer repetition may peruade; here polaritie intenify. Atm. 35 an interchange of voice ee the pianit' left-hand articulating the riing fourth (motive o) whilt the right-hand play a more objectified verion of the "iren ong" and the chromatic object (motive ~) move in octave. hi preentation upport the image of the "ditant tar" which "twinkle oftly" and i played in a high regiter, replete with "glimmering ray". quietiimo (8t Chapter f'ive 193

197 (8) fl_ll li,.. ~ #-.,.. Jl:~._ v { ~ L..W w l..l.j L..W ~ L..W L.LJ UJ :J :J ;j :J :J :J :J 3 3 fl II if -, I -~.. J.~ t) _r l r J : ".. -- _ " FlGURE 5-16: "GLIM.MERING R AYS" r~ / r.j l iviion of voice i emphaized in two novel way. Firtly, the piano i patially inverted; the maculine fourth (motive 0') are commuted to the lower "earthy" regiter and contantly try to penetrate the ditant material (motive Sj2) in the higher. he hand draw together and, when the fourth are articulated, they almot touch- a muical drama, now enacted through phyical performance geture. Secondly, the two voice become rhythmically dijointed; the lower articulate the triple metre whilt the upper preent a cro-rhythm in group of four. I have told the tory of the man trying to fly to a ditant tar, but now I look at thee opening meaure from a different angle- a exual drama of 'creation'. In 1903 Skryabin wa about to lip into olipim under the way of the pychologit Wilhelm Wundt and philoopher Johann Fichte. A i well known, Skryabin came to believe that the phyical world wa a mere repreentation of hi own pyche, ergo, he wa the creator of the world. A early a 1894 hi notebook dicloe a flrm belief that creation i the key to alvation: "I can ay that they [people] can expect nothing from life except HA WHICH HEY CREAE BY HEMSELVES ALONE". ~ 3 And in 1904 hi notebook read, "hu, it i that I am the author of all experience. I am the creator of the world." 294 Skryabin' initiation into philoophy came in 1894 tlu:ough Schopenhauer' Wodd a Will and Idea. Of coure Skryabin did not feel any loyalty to the peimitic context in which Schopenhauer wrote. Skryabin felt that by impoing bi will, rather than tbe will, he wa 'overcoming himelf in a Nietzchean ene. He yntheied thee idea, predicting a highly optimitic denouement in which he would lead the world to apocalyptic ectay with the echatological Myterimn. In thi final a tifaction of the will, uffering and deire would be laid to Slu-yabin eguated thi act of creation with eroticim; Leonid Sabaneyev record Skryabin' tetimony: 293 Bower, S criabin: A Biograpby 1, Bower, Scriabin: A Biogrrpby 2, he Myle1i11111 wa Skryabin' much dicued fetival of muic, dancing, colour, ound and mell, which would bring an end to the world. he project wa intermpted by the compoer' untimely death in

198 the creative act i inextricably linked to the exual act. I definitely know that the creative urge in myelf ha all the ign of a exual timulation within me... And note pleae that the creative artit i quare in the middle of thi - the weaker he [the compoer] i in the exual area, the weaker hi art. Maximum creativity; maximum eroticim. Look at Wagner. ritan i hi maximum, and Parifal, already it ha dropped. It' the work of a worn out old man 296 hi link between creation and the exual drive doubtle come from Skryabin' early reading of Schopenhauer: he exual impule prove itelf the decided and tronget affirmation of life alo that to man in a tate of nature, a to the animal, it i the ultimate purpoe, the highet goal of life... Conequently the genital are properly the focu of the will... A uch they were revered among the Greek in the phallu, and among the Hindu in the lingham, which are thu the ymbol of the affirmation of the will. 297 Of coure, for Schopenhauer, muic wa a manifetation of tl1e will itelf. So too for Skryabin although, for Skryabin, the proce of creation involved a gendered polariation. he pirit (the creative principle) i conciou of a polarity of ilie maculine and feminine element, ilie one active, the other paive, the will and reitance. he latter element, inactive and inert, become crytallied in the immobility of the material form, in the World with it manifold phenomena. 298 Skryabin then decribe how thee pole initially eparate but reach "a culminating point" where they feel compelled to reunite. He call thi "dematerialization" and "ynthei". When dicuing the Fourth Sonata, Skryabin referred to tl1e opening meaure a "he triving upward toward creative power."~ 9 Given that creation involved force of will and reitance for Skryabin, thi tenion i played out between the upper and lower voice: motive (J and motive ~. One automatically think of Foucault' dictum from he Hitory of Sexuali!J- "Where there i power, there i reitance". 300 Skryabin' maculine, egoitic line of fourth need to exit in a power relationhip, thu it rreate the feminine chromatic line in reitance to itelf. Marcia Citron ugget that acce to creation ha alway fallen under patriarchal control due to the male fear that women may actually be uperior creator. She dicue tl1e word 'conception', uggeting that for women it refer to phyical procreation and for men it i aociated with a more worthy mental phenomenon- an 'idea'. 301 Skryabin eem to encapulate both interpretation muically. Some of the mot poignant moment in Skryabin' piece are the opening which contain the birth of hi idea and their polaritie. Such embryonic preentation of idea open many of 2% Bower, Soiabin: A Biography 2, Schopenhauer, he [f7orld a 117il/ and Idea, Alfred J. Swan, Scriabin (London: John Lane: he Bodley Head Ltd, 1923), Bower, S criabin: A Biography 1, Michel Foucault, be Hitory rif Srx 11ality. Vo/.1, an IntrodHrlion (Harmondworth: Penguin, 1981), Marcia J. Citron, Gmder and the Mmiml Canon (Cambridge: Cambridge Univerity Pre, 1993), 44 ff. Chapter Fn c 195

199 Skryabin' work; the Fifth Sonata, Op. 53 i a a cae in point. H ere the whole-tone E-F#-A# cell i extended to G# on the econd beat. f'l II!+ Languido,.r----,. { u fl~tt u. pp dolci. u.,-~ una corda FIGURE 5-17: SONAA 0. 5, M. 13 hi onority expand into a whole-tone paage that, in turn, gain momentum and grow into a diatonic " firt ubject". Skryabin amplified thi principle himelf, appending the following line to the Sonata: I ummon you to life, ecret yearning, You who have been drowned in the dark depth, Of the creative pirit, you timorou Embryo of life, it i to you that I bring daring. 30 " Returning to the Fourth Sonata, thi pertain alo to the initial womb-like chord- the B major eventh. he third of thi chord i miing in the fu:t moment however, and the androgynou chord thu lack a modal indicator. On the fourth beat, the pitch # i preented in a regitrally diplaced form, thu giving birth to the gonochoritic eparation proce which i to become the main dicoure of the muic. 303 he third - #- of the chord initiate the riing fourth. { :.. pdolci. t) FIGURE 5-18: OPENING MEASURE OF FOURH SONAA hi # - degree 6 of the F# major cale - become vital. he onata' econd movement embodie the concept of flight inline with the motion that Kramer find in Schubert' etting of Ganymede, from a "lower ero" to a "higher ero". 30 ~ One can hear many obviou muical analogie to flying experience when Skryabin compoe eguentially acending tremolo pattern, broken rhythm, mall motive 302 he quotation i from Skryabin' own Poem of Ectay. 303 Gonochorim i a term ued by Ernt Haeckel to denote the initial eparation o f the exe from a unified ource. Otto Weininger, Sex & Character (New York: Howard Fertig, 2003), Lawrence Kramer claim, "the acent thu replace the upine receptivity with upward triving, the nightingale ' call of love with Ganymede' own, and the mother' breat with the father'." Lawrence Kramer, Frail'::;_ Schubert: Sextwliry, Su0 ertiviry, Sol(g (Cambridge: Cambridge Univerity Pre, 1998), Chapter F" e

200 fluttering around the upper regiter, whilt the left-hand' frequent pedal point become centre of gravity. here are more ubtle mean of achieving thi ene of flight which are beyond the cope of thi thei, but one I mention briefly i the contant diplacement of S (C#) by 6 (#). hroughout the entire onata, thoe with a Schenkerian viewpoint find it difficult to recontruct an Urlinie for thi reaon. 305 hi initence on 6 again probably tem from Skryabin' reading of ritan and Iolde. In Iolde' liebetod her oul i elevated with a climactic E major chord with a upended ixth (C#) that move downward to a B major chord with a imilar upenion (G#). hee ixth beautifully oar above Iolde' vocal line. A them 6 FIGURE 5-19: EXRAC FROM ISOLE'S LIEBESO > > >> he 6 wa born in the opening of the Fourth Sonata and i only extinguihed in the final meaure. From creation- the birth of polaritie- Skryabin lead to their ultimate detruction "dematerialization" and "ynthei". Approaching the end of the onata he offer a final reminder of the irreconcilable # (6) veru C# (S) conflict that lead to a glorified apotheoi of the opening movement, in which the two gendered voice are fued into fitful of repeated chord in octave. 305 For an example of attempt to apply Schenkerian analytical method to Skryabin' 'tranitional' work, ee Baker, be M11ir of Alexander Saiabin. Foe hi dicuion of the Fourth Sonata, ee Chapter ri, c 197

201 >-.IJJ'focoamente, giubiloo F igu RE 5-20: C LI MACIC P O I Or S01 AA NO.4 he ~ (6) naturalie and fall chromatically to a C# (S) at the moment when the firt pure F# triad announce itelf; the final chromatic eduction ha been overcome: motive CS ha conquered motive ~. -e- FIGURE 5-21: FINAL MOMENS OF SONKfA 0. 4 hu all melodic polaritie diolve into a preentation of the A ndante theme and ultimately into a grandioe expoition of the to nic chord. Jim Samon characterie the piece a an explicit prolonga tion off#, unatified until the background of the piece tep forward. 306 hi tonic chord ha been implied many time but ha remained abtract, and o kilful i Skryabin' avoidance of the chord that when it doe arrive, it i carcely adequate. Could the modern litener then be jutified in iding with Adorno in viewing 'out o f context' tonic chord a "impotent cliche" which "no lo nger fulfil their function"? 307 It i probably not unreaonable for Skryabin to give the public audience what he had been teaing them with for even minute- an ec tatic tonic chord in which all difference diappear - what 306 Jim Samon, Mmic in ranition: A Study ofon(f/ E :>.p(fmion (/1/d Aton(/lity, (London: ent, 1977), he odor W. Adorno, Phi/oopi!J of Modem Muir (London: Sheed & Ward, 1948), 38. Chapter r ive 198

202 Suan McClary referred to, drawing on the language of pornography, a "the money hot". 308 But what we tend to enjoy in Skryabin' muic i the flirtation with the tonic and the generation of tenion through it abence. Skryabin, in melody and harmony, piral hi drive around Lacan' o~jet petit a, and upon it attainment, we realie that what we actuai!j wanted wa to approach it rather that to reach it. Maculine and Feminine/Life and eath: Freud, Skryabin and Ruian Culture Although Freud wa revitaliing the Oedipu myth whilt Skryabin wa plotting the Acte Prealable, the compoer wa probably unaware of the pychoanalyt' activitie. It wa not until 1920 (five year after Skryabin' death) that Freud brought the Love/eath dichotomy into the realm of the human pyche in Bryond the Pleaure Principle, referring to the 'life drive' and the 'death drive'. For Freud, the two drive generally antagonied each other, but ometime - during a exual act for example- they worked in ympathy: "In biological function the two baic intinct operate againt each other or combine with each other." 309 Freud allied the life drive with creativity and the contant earch for e}l.llality, invoking the Greek E ro, whilt in private converation he referred to the death drive a hanato. he pyche' hanatonic energy wa aociated with human need for repoe and longed for the peace and tranquillity of the grave. For Freud in 1923, the ld, which repreented the untamed drive of the human pyche, wa compoed of both. In a ubject' lifepan, Ero flourihed in youth, whilt hanato took hold during old age.. Although Skryabin would not have recognied the term Ero and hanato (in a Freudian ene at leat), one can find a imilar 'balancing' paradigm in Nietzche' Birth ofragecfy 011t of the Spirit of M11ic in the figure of ionyiu and Apollo- the collective pirit of ectay and orgiatic fetival veru the pirit of form, beauty and control. Skryabin and 'Silver Age' Ruian artit certainly took thi book cloely to heart For Skryabin, death and love were to unite in an apocalyptic, echatological fetival. he world, he propheied, would be uffued with wave of ectay; 'male' and 'female' would diappear, and on the eventh day of hi Myterium he would lead the world to the threhold of death. And thi hold an intene exual charge. A Schloezer ay: "In hi dream of the end of univere, Skryabin aw ome kind of grandioe exual act." 311 Whilt the Mj'teri11m wa only ideological (it compoition perpetually projected into a non-exitent future) we do poe ketche for the 'watered-down' Acte Prea/able. hi 308 McClary, Feminine E nding: A1uic, Gmdn; and Sexuality, 'l Sigmund Freud, he Con1Jkle Work ofsignmnd Frt'ud xxi1i" (London: Hogarth Pre, 1957 ), !0 Vyachelav lanov wa particularly concerned with ietzche' ditinction (which he cite a being appropriated from Plutarch) between Apollo and ionyu: ee Jame Wet, RHian Sy111bo/i111: A Sltlf!J qf vyachelav Ivanov and the RtiJian S;wtbolil Aethetic (London: Methuen, 1970), See alo:.-\vril Pyman, A Hitory q[rmian S]mbolim ( ambridge: Cambridge Univerity Pre, 1994); Roamund Bartlett, ll~agn er & Rtmia (Cambridge: Cambridge Univerity Pre, 1995); Malcolm Brown, 'Scriabin and Ruian My tic Symbolim', Ninetemth -Century Muic 3 (1979), Ralph E. Matlaw, 'Scriabin and Ruian Symbolim', Comparative Literature 31/ 1 (1979); \'. I. Ivanov, Robert Bird and Michael Wachtel, Selected Emry (Evanton, Ill.: Northwetern Univerity Pre, 2003). 3ll Bower, he NeJV S niabin: E nigma and Annver, C:hapler l'i\'c

203 wa left incomplete in 1915, but a text from Skryabin' private notebook urvived and wa publihed a a Libretto in &mkrye Propilel Materiali'po Iton'i &mkf!y Mili I Litera/uri 9, ~ Muically, only fragmented jotting were preerved, but Skryabin publihed everal piano miniature that were to be integrated into the Acte. Faubion Bower enlighten u that the econd of hi Op. 74 piano prelude wa to accompany the moment when 'Siter eath' unveil herelf to a fairly exalted operatic hero Man. hi prelude accentuate Skryabin' late interet in a very ditinct alliance of Ero and hanato. In the econd act of the libretto, eath appear in the compaionate guie of 'love'. hi compaionate ide of death wa popularied in 19'h century poetry, the obviou paradigm being Claudiu' eath and the lvf.aiden, et by Schubert. In thi poem, eath educe a young girl who accept it a a loving friend. While there i no evidence that Skryabin admired Schubert' ong directly, variant of thi model were common currency in the Ruian circle of compoer. Although Skryabin began to hun muical influence in hi later life, uppoedly writing within hi own cloed phere, he had alway repected the muic of Muorgky above other Ruian muician. hi wa particularly true during hi earlier day at the conervatoire, when he worked cloely with compoer uch a Arenky, Rimky Korakov, Cui, Liadov, and Glazunov. Muorgky' Song and ance of eath- etting of Areny Arkad'yevich Golenihchev-Kutuzov' poem- each concentrate on the pectacle of eath. In Cradle Song eatl1 viit a mother who nure a ick baby ("See, there he lumber, my ong ha tilled hi pain. Huh-a-bye, Huh-a-bye!"); in Serenade he pay court to a fever ufferer in a balcony cene ("My love ong hall bring you lumber"); in rcpak, eath waylay "a poor peaant" ("Ret, ret, poor friend, lumber happy fellow"); in he Field-marhal, eath reek havoc on the battlefield ("Sweet i ilie lwnber that follow the fight"). Skryabin' text certainly conform to thi benevolent model of death, whoe firt utterance i "on't be afraid, child. I am the one you deired." hi deire for death confirm the Freudian bia, and Skryabin firmly ituate Man' interaction with eath in the human mind itelf; the whole cene i eventually unmaked a a viion. After tl1e firt peron experience of Skryabin' text, the reader i uddenly hurled back into a narrative framework of the third peron after eath' departure: he gentle viion diolved in ilie mit hat had embraced him. he hroud again diolve He lie alone in the wilderne a before. Skryabin certainly aw value in pychology, but Lived before pychoanalytic theorie of love and death came into vogue. A hown in Chapter 1, he himelf invite uch pychological reading, teaing u that hi muic contain 'pychological program': "Mot of my muical poem have a pecific pychological 3 12 Simon Morrion ha tranlated thi libretto a an Appendix to RJtSiall Opera a11d tbe Symbolit Moveme11f, Univerity of Claifornia Pre, he ketche for thi have been examined by Manfred Kelkel: Kelkel, Alexa11d1f Scn.abine: Sa Vie, L'eoterime Et Le La11gage Muiral a11 So11 Oeuvre. 200 Chapter Fil'c

204 content, but not all of them need programme note." 313 hi audaciou claim i unubtantiated to be ure, but i tantaliing nonethele. Recuperating Skryabin' text, I now filter it through the pychology which he invite. Wilhelm Reich- a figure whoe idea are generally regarded a being a 'cranky' a Skryabin'returned to Freud' view of Ero a the 'creative force', "raiing living ubtance out of it inorganic tate of repoe, creating tenion, and concentrating life into greater and greater unitie". He decribe hanato a the "tendency to reduce living ubtance to an inanimate condition, to nothingne, to nirvana." 3 14 Reich harboured eriou objection to the 'death drive', reminding u that Freud' idea were crude and hypothetical. I-Ie recounted that, when he called upon Freud to expre hi uneae with the way that leer pychologit had over-zealouly adopted hi model, Freud agreed that he had allowed himelf to peculate and hypotatie. Of coure Reich' work maintained that 'orgatic potency' wa the principal drive of the pyche, hunning all oppoition. And if the death drive were admitted into hi model, the whole ytem would tumble. It eem that the death drive held a rather precariou place in pychology during the 1920 and A belated mediator between Ero and hanato that could have placated Reich wa George Bataille in the Bataille invoked the French phrae 'la petite mort' ('the little death') decribing the human 'lo of elf in exual bli and the return to the materiality of enation. 315 Reich quoted Otto Rank' rauma der Geburt, correlating the exual act with a "return to the womb", but till Reich tave off the death drive. Bataille wa a figure equal to Reich in advocating exual freedom to hi reader; but he alo expanded Freud' 'death drive'. Bataille' dichotomy wa that of dicontinuity/ continuity. he former, he claimed, found repreentation in life, the latter in death. 316 For Bataille, thi truggle between the life drive and the death drive wa not necearily part of the Romantic experience. A i well known, Bataille draw heavily on the depravity of the Marqui de Sa de, a well a hi own fictional writing, where love and death meet together in the preence of horror. Hi urreal pornographic novel, he Story if tbe Eye, allow the death-drive to flourih where Ero fail to atify: "love, puhed to it limit, i an urge toward death." 317 Bataille imilarly ee the 'death-drive' a ultimately victoriou, particularly over deire. Strangely enough, he approache Skryabin in ome way. he protagonit in Skryabin' poem ha repreed hi viion of death until now when it i releaed through horror, the hero aking "\V'hy did you come to me in the guie/ Of a blind monter with a corpe' mouthl?]" Skryabin' imagery remind one of the picture painted by Han Bower, he New Saiabin: Enig111a and Anwer, Wilhelm Reich, be Function of the Orgam (London: Souvenir Pre Ltd., 1993), George Bataille, he ear of E!V (San Francico, City Light Book, 2002), Bataille, Ervtiri111, Ibid., 42. Chapter Five 201

205 Baldung, oft quoted by Bataille, in which a figure of eath i een in variou form of decompoition, educing young female- a medieval topic. 318 Now of coure, in Skryabin' text, the role are revered. FIGURE 5-22: P Al INGS BY HANS BALUNG hi horror (or repulion) of the cadaver which Bataille explored, influenced Julia Kriteva' work on afv ection. She poit that the hock-force incited by corpe, ewage and filth tranport u to a tate of abject materiality. hi entiment wa prefigured by Schelling, a philoopher who Skryabin knew well: "he unground of eternity lie thi cloe in every peron, and they are horrified by it if it i brought to their concioune." 319 lu tate i the Lacanian 'Real'; we are thrut back into the enliotic cbora, where word are meaningle and we connect with pure materiality: he corpe... doe not ignijj death. In the preence of ignified death- a flat encephalograph, for intance- I would undertand, react or accept. No, a in true theatre, without makeup or mak, refue and corpe how me what I permanently thrut aide in order to live. 320 In the cbora, Kriteva alo adnlit Freud' dichotomy (Ero /hanato), and concede that ultimately the death drive i the tronger. She quote Freud: "hanato i pure whilt Ero ha, ince the beginning, been permeated \vith hanato, the mot deep eated drive being tl1e death-drive." 321 She, like Bataille and Reich, ee tl1e death drive a a return to a tate of continuity which exited before and after the interruption which life ha afforded. A John Lechte ay of Kriteva: "eath become equivalent to the non-life of the ubject-elf prior to birth. hi i not the death to come, which the unconciou actively refue." 322 hu the death drive i repreed, alway preent but cat aide. he 3IB 'hree age of woman and death', 'eath and the maiden': Bataille, he ear qfe,v, l9 A Bowie, S chel/ing and Modem European Philoopf!J: An Introduction (London: Routledge, 1993), Julia Kriteva, Power of Horror: An Eqy 011 Abjection (New York ; Oxford: Columbia Univerity Pre, 1982), l Julia Kriteva, be lviteva Reader (New York: Columbia Univerity Pre, 1986), Maria Margaroni John Lechte, julir1 lviteva: Live heory (London, New York: Continuum, 2004), 106. Chapter Five 202

206 abject therefore i the gateway through which the repreed material drive are releaed. hi repreed tate i dicerned by Kriteva and alo by Skryabin a I briefly explore before contrating another of Skryabin' portrayal of the abject. he death drive ha evidently operated within Skryabin' hero many time, but ha been repreed through abject fear; fear that horror would break open the flood gate of the chora: I followed you unexpectedly You feared death, fled death. A poetic influence may have been Ivanov' Fourth Book of Cor Ardm, entitled "Love and eath".e 3 Although Skryabin alway cited Ivanov' mvard the Star a one of hi earliet influence, an incribed copy of Cor A rden i preerved on hi drawing room bookhelf. In thi poem, a bereaved lover remontrate with eath. eath reveal that he ha been with the loving couple 'from the beginning': a manifetation of Freudian repreion. 324 he cbora (and the theoretical 'tai' that ignifie the triumph of the death drive) allie with the unconciou, exerting a contant preure. hi preure i kept in check by the uperego but, a indicated, the onet of horror force the emiotic chora to temporally break through the Symbolic Order. Apart from the brief reference to the horror of the cadaver in Skryabin' poem, a ection before thi decribe a maacre in which the protagonit find gratification through horrible act of violence upon the earth. More intoxicated by the tench of blood than everyone I am more lethal than a nake' poion Horror in defeat i pleaure to me And at the lat gap of the dying I am the God of greed and detruction I am the courge of the people, I am the God of Blood! Skryabin' work i cloet to K.riteva' becaue he femitjie the death drive, the abject, the chora, and the tai they ignify. And tlu tate of pure materiality i aociated with both birth and death- the 323 Many poet, painter and playwright were cloe friend and frequent viitor to Skryabin' Mocow home from \'yachelav Ivanov wa particularly cloe, both peronally and artitically. Ivanov accepted the challenge of importing Ger111an Romanticim into Ruia through hi (rather liberal) tranlation of ovali. Wachtel how indirect reciprocal influence between Ivanov and Novali a Ivanov' own poetic imagination penetrated hi tranlation. A particular line from Novali- " own into the earth' womb/ Away from the light"- i tranlated by Ivanov a " I want to decend into the grave' darkne and open the earth' breat." W/e ee that Ivanov replace the image of the maternal 'womb' with image of death, yet uffue the total image with that of the maternal 'breat'- thu keeping alive the tradition of death a a return to the Mother. J\,fichael Wachtel, RJmian S.J'Inbolim and u"temry radition: Goethe, Nova/i and tbe Poetic of Vyac helav Ivanov (Wiconin : Univerity of Wiconin Pre, 1994), he cene i reminicent of Novali, who uppoedly had a inular experience of the 'other world' by the grave o f hi beloved. Sara Friedrichmeyer, he Androgyne in Em!J Gmt1a11 Romanticim: F1ied1ich Schlegel, Nova/i and the Metapi!Jia of Love (Bern: Peter Lang, 1983). 203 Chapter Five

207 female womb: "he abject confront u... with the hold of the maternal entity even before exiting out of her". 325 Similarly to Skryabin' poem, a I dicu later, thi abject i an agent of eduction; it "draw me to the place where meaning collape." 326 hi i doubtle grounded on hint from Jacque Lacan who, through a phallogocentric dicoure, honoured the death drive a a return to the Pre-Oedipal and the only poible way of ecaping the hegemony of the Symbolic Order: "So when we wih to attain in the ubject what wa before the erial articulation of peech, and what i primordial to the birth of ymbol, we find it in death". 327 wo Apect of the Feminine: he Seductre and the Maternal Skryabin too gave eath a pecific gender- female. Fyodor Sologub, another Ruian ymbolit poet, marrie femininity and death in hi Love and eath, of which Avril Pyman claim, "he pychological inight of hi early torie anticipate many Freudian dicoverie." 328 Wachtel draw attention to the conventionality of thi marriage in Ruia where the word 'death' (preumably he mean "myert") ha a feminine declenion unlike the German maculine er od. 329 However, thi i not entirely convincing; many maculine Ruian noun- uch a 'father' (papa), 'uncle' (cfyacfya) and ome Ruian male name- hare feminine declenion. Further, Skryabin' muical archetype- Muorgky and Schubert- placed thi benevolent death within the purview of the maculine. Of coure, in Muorgky' firt ong from Song and ance of eath, death i cloely allied to the maternal figure through eath' mimicry of the mother' 'rocking' of the cradle, adding hi own lullabyeque 'huh-abye'. Of thi particular ong, eleuze claim, "the deterritorialization of the refrain i doubled by eath in peron, who replace the mother." 330 But thi maternal replacement i not conitent in the cycle a a whole. Skryabin' eath alo held a exually alluring voice, reinforcing thi feminine element of death, informing the ubject that, having rejected the ymbolic world, Man ha found himelf a new bride in Siter eath. Your renunciation of earthly life... Your abdication of the crimon world Awakened in you a bride- me. 325 Kriteva, Power of I-lotOr: A11 Emry on Aljection, 13. _;, 326 Ibid ~. 327 J. Lacan, Eoit: A Seledion, London: avitock Publication, 1977, H Pyman, A I-IiiOIJ' ojfvmian Symbolim, \Vachtel, FVmian Symbolim and Literary radition: Goethe, Nova/i and the Poetic ofvyachelav Ivanov, no eleuze' theory i that muic 'deteritorialize' the refrain. In the lightly more Hegelian light of thi project, we might ay that muic 'negate' the refrain. eleuze and Guattari, A houa11d Plateau: Capitalim aud S rhizophrenia, Chapter Fi\-c

208 And he educe: "Allow me to coalece with you in perfect love." hi wa far from explicit in Muorgky' ong and Ivanov' poetry, and thu Skryabin injected an original element, which became dear to him: the eductre. 331 hi compelling ymbol i firmly embedded in the Ruian Silver Age aethetic; it i, in point of fact, Vladimir Solovyov' Etenral Feminine- a tranmogrification of 'he ivine Sophia'. 332 Solovyov enjoyed kudo a a philoopher and poet and, a Suie Garcia put it, he tranformed Nietzche' atheim into 'mytical chritianity'. 333 He became a 'theoophit' in 1890, chooing to worhip ivine Widom rather than God per e, and although he kirted around formalied heoophical doctrine, he famouly poke at the firt meeting of Rudolph Steiner' 'Ruian Anthropoophical Society'. 334 But it i with Vyachelav Ivanov that the concept of the Eternal Feminine bore the ripet fruit, and thi i probably the tree that Skryabin ate from. Ivanov lifted the idea of the Eternal Feminine from Goethe' FatJJt a well a Solovyov, accepting that womanhood lure man toward ectay and knowledge. In Pilot Star, hi collection of early poem dedicated to Solovyov, we read of thi heavenly attraction: From the bond of lonely eparation, On the intoxicating wing of a dream Myteriou ound draw him to her, A golden moon attract him to her. 335 hi accord with Skryabin' Fourth Sonata, Op. 30. Intoxicating hining one! It i toward thee, adored tar My flight guide me Skryabin met Ivanov in 1909 at St. Peterburg, etablihing a warm friendhip, and through the Etenral Feminine, Skryabin confronted the idea that the feminine functioned to lure the maculine toward inpiration, creation, abolute knowledge, and piritual ectay. he ivine Sophia, for Solovyov, wa the paive feminine counterpart to the active maculine Chrit. Both force purue unity, the former unconciouly, the latter through conciou action. Unurpriingly, the Silver Age poet choe to feed upon thi unconciou deire for unification. he Eternal Feminine wa further erotically charged by concupicent poet like Alexander Blok, who venerated her a an amative replacement for Chrit. Perhap Blok could enjoy ectatic eccleiatical experience without the awkwardne of an aumed 3-11 Although reference to Ero were made in Vyachelav Ivanov' poem, the erotic charge exited between a man and hi former partner- eath wa merely the executor now confronted aggreively by.1\hn. 332 Sophia wa alo worhipped by Novali, whoe work Skryabin encountered, parti~,:ularly in hi Hymm & ie Nacht. J- -Frl-eciricb-in~yer, 'the Ai1drvgpie ilie"a~-f;;gmtld;,-ro;;;;;"ti<;;,;.. p;iednchschfegenoi~ali a~;dthe Mit;pfij~ic of Love, 91. m Garcia, Alexander Skryabin and RliSian SJ mbolim: Plot and Symbol in the Late Piano Sonata, Univerity of exa, JVL\ iertation, 2000, Maria Carlon, No Religion Higher han mth: A Hi,-tory of the heoophical J\1ovemmt in Ruia, (Princeton, N J: Princeton Univerity Pre, 1993), Wachtel, Ruian Sy!llbolilll and Literary mdition: Goethe, Nova/i and the Poetir of Vyadm!av Ivanov, Chapter fiivc

209 homoexual alliance like that of St. John of the Cro. hi counterbalance the more common erotic religiou encounter of women, uch a the manifetation of Bernini' he ECJia!J o/ St herea, oft quoted by Bataille. 336 A Garcia tell u, any act of love directed from a man to a woman i an act of love with a repreentation of the Eternal Feminine. In emiotic term, any pecific object of affection i a melof!jmic repreentation of Sophia. he tak of man wa lightly abtrue; he had to realie the oul of the ivine Sophia in hi own beloved and mediate between the heavenly body and her earthly repreentative. Blok' enthuiam i betrayed in both hi poetry and hi peronal writing. A Avril Pyman point out, the Eternal Feminine wa a" 'Salvation myth', uggeted by Blok' cultural heritage: ante, Goethe, the German Romantic, Vladimir Solovyev and reconfirmed for him by the fact that the myth wa hared not only by contemporary Ruian poet uch a Andrey Bely, Sergey Solov'ev and Georgy Chulkov, but to a greater or leer degree by European precuror and contemporarie from Baudelaire to Strindberg." 337 o thi lit of 'European precuror' we mut add Wagner, whoe writing reveal hi aborption of the Eternal Feminine that lead him to claim ins dmtliche Briefe, "it i love that i really 'the eternal feminine' itelf." 338 And yet for all her eductive tendencie, the Eternal Feminine aborbed maternal qualitie. Garcia ay, "Sophia i the divine bai of eence of that which, a created, i ditinct from God; it i the living oul of the created world." 339 Blok called her the 'world oul', and not only monumentalied the Eternal Feminine in hi wife, Lyubov' mitriyevna, but alo in hi mother, leading Avril Pyman to ugget that Izora- the heroine of hi play he Roe and the Cro- wa "inpired by both". 340 Garcia claim, "Sophia i... the living oul of the created world." 341 In thi apect a muicologit naturally remember Wagner' Erda- the eternal mother- whom Wotan feel o compellingly drawn toward. Catherine Clement' Oedipal analyi ugget that Wotan i led toward erotic union with Erda in an attempt to retrace hi own 'prehitory'. 342 he maternal ide of the Eternal Feminine inevitably reonated with the work of Madam Blavatky, who explored the bai of Prakriti (the maternal oul of the world) in Samkyha philoophy. Blavatky, a a female, releaed Sophia from the phallogocentric peculation of male artit, who manipulated her to uit their own amorou predipoition. he ymbolit author Andrey Bely perhap deviate from thi model. hrough an acquaintance with Mikhail Solovyov (Vladimir' younger brother), Bely wa introduced to the concept firt-hand. Like Blok, Bely equated "- m. By erea' own account: "he pain wa o great that it caued me to utter everal moan; and yet o exceeding weet i thi greatet of pain that it i impoible to deire to be rid of it, or for the oul to be content with le than God." See Peer, E. Allion. Studie of the Spanih Mytic, London, 1927, Avri!Pymao, Alek!aJH/riJ/ok: h_( Illle/llf_(N~wca~tk:JJ niyc:rity of PurhaJ}, yneldc: Free Pre, 1989), 37. _.l38 Jean-Jacque Nattiez, Wagner Andtvgyne: A St11dy inlntnprelalion (Princeton, N.J. ; Chicheter: Princeton Univerity Pre, 1993), Garcia, Alexander S kryabin and Rlmian S; mbolim: Plot and Symbol in the Late Piano Sonata. 340 Avril Pyman, he Life qfaiexander Blok (Oxford: Oxford Univerity Pre, 1980), Garcia, Alexander Skryabin and Rlmian Spnbolim: Plot and Symbol in the Late Piano Sonata, ~ Clement, Opera, or the UndoiiJg r!fi7omen. ( :hapter Five 206

210 the Eternal Feminine with 'the world oul'. But for Bely he wa alo the "upra-individual ego" that identified with mankind; an ego hared by all individual. Hi earlier eay build on thi foundation, claiming that the idea of religion wa to make 'real' the thing artit communicate in art; the Eternal Feminine for him wa 'truth'. Art to Bely, wa a progreion which wa like a bomb that, when thrown, detroy itelf and the object it attack. he Eternal Feminine wa the guiding truth-force behind thi bomb. 3 ~ 3 How doe the Eternal Feminine lot into our pychoanalytic tradition? Blok' attempt to rejuvenate the Eternal Feminine in hi own life, bringing her out of hi fantay pace, reonate with Lacan' work. Lacan continued Freud' phallogocentric dicoure in hi own verion of he Eternal Feminine: 'the woman who doe not exit'. 344 Slavoj ZiZek appealingly elucidate thi through the movie of Alfred Hitchcock. In Vert~o,Jame Stewart purue a myteriou woman whoe death leave him ditraught; he then attempt to recreate the image of the myteriou woman through a common hop girl. hi harmonie with Blok' attempt to realie the myteriouly alluring Eternal Feminim in hi own mundane wife. But a Zizek explain "It i preciely the impoible relationhip between the fantay figure of the Other Woman [fhe Eternal Feminine] and the 'empirical' woman who find herelf elevated to the ublime place that i the ubject of Hitchcock' Vert~o." 345 Of coure what Lacan held over the dicoure of men in the 19th and early 20'h centurie wa the realiation that thi form of ublimation lead to death. In Vert~o, Jame Stewart' ubtitute for the myteriou woman turn out to actually be the original woman who feigned her own death, and the diilluioned Stewart i forced to look on the recreated Eternal Feminine a an apocalyptic failure. For Lacan, ublimation i all about death. A Zizek ay, "the power of facination exerted by a ublime image alway announce a lethal dimenion." 346 And Skryabin may certainly have reached thi entiment through Weininger who aid, in repect of ante' Beatrice, that love of woman i "detruction of the empirical peronality of the woman" becaue the Eternal Feminine replace her. herefore, "love i murder". 347 hu the Eternal Feminine allie cloely with eath. Ivanov too, at an early tage, tried linking the Eternal Feminine to the figure of death; hi poem continue: here he, on the ad clearing, Wait alone for him above the grave, Sitting motionle in the mit, Cold and pale like the mie John Elworth, Andrry Be/y: A Clitim/ Stur!J r!f the Novel (Cambridge: Cambridge Univerity Pre, 1983), According to.avril Pyman, Bely wa obeed with metaphor of 'blowing up': he Ufe r!f AkYander Blok, Lacan, Mitchell and Roe, Felllinine Sexuality: Jacque Laca11 and the Ecole Fremlimne, 137; Chapter 6: God and the Jouiuance r!f --- +he'lf7oman, A clove-leiter Zizek, Looking A1vry: An Introduction to Jacque Lamn thmugh Popular Culture, Ibid Weininger, Sex & Character, ' 48 Michael Wachtel, Ruian Sy!Jibolim and Utemry radition: Goethe, Nova/i, and the Poetic r!f V; achelav Ivanov (Madion, Wiconin: Univerity of Wiconin Pre, 1994), 47 ff. 207 Chapter Five

211 But Skryabin wa even more explicit than hi poetic contemporarie. And here I return to the Acte Prialable that, a hown, allie the Eternal Feminine with 'Siter eath'. After expoing the correpondence between death and eroticied female eduction, we are poied to make a dialectical return to our point of departure, my motive ~.Ivanov loved ritan and Iolde, and found "primordial chao" in it chromatic line. And in the Prelude, Op. 74, no. 2, Skryabin aturate the entire texture with chromatic line at different level. hee line do not exit in the beginning; rather, they grow from the firt phrae, in which they appeared a an intenification device. Notice how the opening phrae introduce a minor third interval (A-7 B~), ucceeded by a major econd (A-7 G) and a chain of chromatic note; the interval draw inward and downward. he lat note of thi chain (F#, E~, Eq) - three half tep - aume the character of an accompaniment in m. 5 and the opening phrae tranform into the melody above. 3 4 ~- ~ - - ~ I~ 11 _.--- (')' "!.. 12 t) : #f~., J" fc r, #j ~~ #fl ~, r #jo...j. _!f #fl "f, r r - ~ ~ ~-- :::,,...,... I""" r- ~ j" II r r II r r II r r ~ ~ ~ I~ l'l' Q.J #fl "f,r 'I "f,r ~ ~ ~ r #~' ' " ",-._ -5 - pp dim. morz. II [ [ II [ [ J II v..<;-'~ ~ FIGURE 5-23: PRELUE, Or. 74, NO Chapter Five 208

212 But apart from eduction, the chromatic line can alo be a ignifier for melancholic aociation of death, epecially when coinciding with a minor key. epite the piece' almot excluively octatonic bia (collection III from Pieter Van en oorn' claification), the opening chord i a tolid F~ minor triad. he omnipreent pedal tone off# i another clear reference to the death' melancholic apect, alternating the fifth of the F# triad with thoe of C in a typically Stravinkian fahion (ee Petruhka). Pedal tone alway appeared in Skryabin' work when death wa concerned. In hi Firt Sonata, Op. 19 a 'funeral march' i laid over a pedal tone' vacillation between the tonic and dominant, haring the ame rhythm a thi Op. 74 Prelude. Funebre J. 'o ~ 2 FIGURE 5-24: FIRS SONAA, OP. 16 -FUNERAL MARCH he ame i true of hi other funeral march- the Alia Marcia of Sonata no. 9 - he Black Ma: F IGURE 5-25:ALLAMARCIA FROM SKRYABIN'S SONAA NO.9 hee pedal doubtle correpond to funeral marche which alway focu on a ingle fetihied feature -a rhythm or a pitch. hi fetihiation of a ingle entity ometime denie the muic' dialectical tendency to engage with 'other' material to contruct form: the material lie paively. In contrat to the wild, raging melodic line and chord progreion of the firt part of eath and the Maidm, Schubert repreent the 'ingle mindedne' of eath with tonic and dominant harmony and an all-pervaive dactylic rhythm. FIG URE 5-26: Scr IUBER'S Et\I I A l IE MA!EN Chapter f' ive 209

213 In Muorgky' ong, eath imilarly move to the beat of a very peritent dance rhythm, but alo frequently fetihie ingle motive like the ighing drop of 'huh-a-bye' in Cradle Song. Mendelohn' F1111eral March from Lieder Ohne Worte, which Skryabin tudied a a youth and which hare a imilar theme to Mahler' Fifth Symphony, propel a perpetual triplet figure. 3 J J 55 J FIGURE 5-27: MENEL'>SOIIN'S FUNERAL MARCH And of coure Chopin' Funeral March fetihe itelf a a ritornello-like ubject, articulated a an almot tatic object, whilt other idea flower into theme. he march, a a fixed 'inner' object, reit the dialectical 'outide' ubjective world. An important influence to Skryabin wa the late tyle of Lizt. he econd movement, ra11er-march, from ra11er- Vorpie/ 11nd March contain an entirely chromatic line: Chromatic ecent ' JJ JJ meaure: FIGURE 5-28: REUCION OF LISZ'S RAUER- VORSPIEL UN MARSCH In the funereal topic, death entwine with melancholia; mourner force themelve to become fixated. A Freud put it: "the loved object no longer exit, and it proceed to demand that all libido hall be withdrawn from it attachment to that object... hi... can be o intene that a turning away from reality take place and a clinging to the object through the medium of a hallucinatory wihful pychoi." 349 It i againt thee fixation that 'love-death' eem to oppoe themelve a they map a proce of cathari; manipulation of fixed and immobile muical feature uher in the purging of melancholia. When eath take the Maiden for intance, Schubert imply cloe with a recapitulated introduction, now in a conolatory major key. When Muorgky' ba inger ing the final 'huh a bye', the chromatic decending motive at the moment of death (moving from F-FP-E!I--!I) yield a perfect fourth (All), thu ending on a 'brighter' note. 14 Freud, he Complete U7ork olsigmund Freud.Yiv, 244- Mouming A11d Me/muho/ia. 210 ChapterFiYe

214 Lento tranquillo rallentando r-3----, he leep and no one can wake him, Huh-a- bye, YC-H)'Jl OH IIOL\ II-XO- e rre - Hbe. 6a-Kliii- Kll, ba-bay,my own." 6a- Kl, 6a - Kl." rallentando FIGURE 5-29: CRALE SONG FROM MUSSORGSKY'S SONGS AN A1VCES OF EAH But no conolation i offered in Op he 'tonic' pedal and the low march rhythm combine with chromaticim. Conolation come only from the lackening of chromaticim a it top burgeoning and return to a tate of rhythmic repoe. Skryabin' tetimony upport a double reading of thi chromatic line and tonic pedal a agent of both death and erotic eductive tenion. Playing the piece to Bori de Schloezer, Skryabin et the pychological cene: "Liten to the implicity, and yet how complicated pychologically". He went on to examine pecific feature: "[he decent i an] atral decent, mind you, and here i fatigue, exhaution- the chromatic decending line. See how thi hort prelude ound a if it lat an entire century? Actually it i all eternity, million of year..." - an ode to eternal recurrence. When dicuing the piece with Sabaneyev, he played it twice, demontrating that, "the ame crytal can reflect many different light and colour." Sabaneyev decribe how the econd time, the piece lot "every trace of careing ero which once hadowed it." When mentioning thi to Skryabin the compoer whipered, "Ye... it i death now. It i death like the appearance of the Eternal Feminine which lead to the Final Unity. eath and Love." I call eath 'Siter' in my Acte Prialable, becaue there mut be no trace of fear about it. It i the highet reconciliation, a white radiance..." 350 hu a dene aturation of chromatic line fuel both erotic and the melancholic apect of eath' appearance. Piece uch a ido' Lament have helped to contruct thi interrelation of muical ymbol. Purcell call upon the ba lament (thi Baroque figure itelf unite motive ~ and motive o), which embodie death, melancholia, and in thi cae, womanhood. 3 5 Bower, S rriabin: A Biography 2, 265. Chapter Fi, e 211

215 v=~' l ] II: ~~ I::Z tcl 0 -u- FIGURE 5-30: HE 'GROUN' 01' IO'S L\MEN i l;j 0 -u- Melancholy i never intimated by Skryabin, and he would probably have diapproved of it; a he claimed, the eduction mut occur 'without fear', and preumably without the ene of lo and trauma which melancholia involve. 351 hu melancholy mut have been an unfortunate by-product for Skryabin; he attempted to play within the ymbolic field of traditional muical ignifier that have deeply entrenched ignified. It i difficult to depict a happy eath in muic. he two thing, whilt not mutually excluive in poetry or philoophy, can become o in muical repreentation. Put crudely, once it ound 'happy' it top ounding like 'death'. For thi one ha to look to form of muic where an extra-muical dimenion can bridge the gap- \Vagner or Schubert would provide the mot obviou example. Maculinity- he 'Life rive' My analyi of Prelude, Op. 74 reflect the variou facet of the Eternal Feminine: the eductre, the mother and the body of death. Wherea earlier piece were uffued with militaritic maculine motive - trumpet call that majetically overturned the ubmiive feminine voice of the voluptuou harmonie that tended to prevail- thi piece admit no uch conqueror. Rather, it eemingly grant full reign to the eductive decending chro~atic voice of motive ~. Skryabin' libretto open up new paradoxe for thi interpretation when Man i returned to life; he emerge from hi dream realiing that pring ha awakened within him and he i charged to preach 'the word' to the mae. Although thi new reolve for life at the behet of death i omething of a Gordian knot, our job i not to untangle it, ignorant a we are of how Skryabin intended to embed the piece into the muical framework. However, thi reolve to preach to the world dicloe a marginalied maculine urge beneath the ertwhile hegemony of the feminine death drive, the affirmative drive being deployed to facilitate the elf-replication of the detructive drive. Going beneath Skryabin' muical urface, the ame tructural neceity appear in three different guie. Firtly, in Prelude Op. 74, no. 2, motive 6 recede from it leitmotivic prominence, paying purely perfunctory ervice to the prevailing motive ~. In Sonata no. 4, the maculine creative voice rubbed houlder with the feminine paive voice, allowing itelf to be educed and led toward ectay. Here, 151 But melancholy i not necearily the feeling of 'lo' with which we broadly aociate grief. Link between melancholy and death are certainly forged by Kriteva, who view the melancholic a omeone who give way too much to the 'deathdrive', and who, viewing the 'Symbolic Order' a a mere fa<;ade and failing to accept it fully, live a kind of 'living death': "Ero ha become detached from word, from language, from life. Melancholia i cold, on the ide of the death drive and tendency toward complete paivity, mourning and adne." John Lechte,]11fia Kriteva: Live heo!j', Chapter Fi, e

216 thing are a little different. he upward leap of motive 0 provide new platform for motive ~ to fall from. A far cry from the 'all gun blazing' entrie that motive 0 had previouly enjoyed, it i now tripped of all character, and i denied the dignity of direct motivic deployment, appearing only a a byproduct of overlapping chromatic arche. Oberve how the cloing Bl> pitch of the initial chromatic cell make a leap of a fifth to the F~ (E#) of the ubequent cell. he primary note of the initial cell itelf wa a C (B#) which figure in a broader 'fifth leap' (m. 4). hee procee are repreented in figure hee 'leap', followed by their correponding decent, create the illuion of the perpetual chromatic line. 5th FIGURE 5-31: MOEL OF OPENING OF PRELUE, 0P. 74, NO.2 Secondly, maculine fourth upport the chromatically interweaving line in other way too. When it enter, the melodic voice hover above the chromatic cacade, erecting tructural pillar by articulating fourth. he A in m. Slie above the E#/E/EI.> cell, and move to B# above the F#/E# decent, before reviiting the A above the E/EI.>. hee interval then gradually decreae through minor third and emi tone a the chromatic tendencie of the inner voice draw the contrapuntal line together, jut a the feminine lure the maculine. hirdly, the left-hand fifth (ocillating between C and F# in a Stravinkian fahion) contruct the olid 'maculine' foundation of the pedal point. hee fifth, etranged from modal ditinction, become androgynou, their funereal ininuation over-riding their claim to maculinity. So given the new ubidiary role of motive 0, where can one locate maculinity? he piece i permeated by teleological drive toward it mid-point a the chromatic decent burgeon; the cacade become interrupted more frequently, cauing interior repetition of mall egment. In thi way Skryabin deploy a force of reitance to the perpetual decent. A climactic central point i poitioned at a G# apex in m. 12. Further, a comparion of mm. 4-7 with mm find the latter egment to be elongated through internal repetition. Of coure the Erotic and hanatonic drive here erve each other dialectically. In preenting a force of erotic reitance, the intervallic upward kip (variant of mcqtive O) n~g-~t_e t_h~t~t~_.l)~t2l)oie_ ~EI~IE~-~-c 9ei~eptj~~o~ve ~),_buf ac,u~ljy add f~el to 5~e f~~~?f the decent, which become the newly mediated 'negation of the negation'. 352 he meta-narrative of motive ~ i a fall from a ummit of G to a nadir of Bl.>. hi wa initially a concern of mm. 4-6, but become 3 52 See Chapter 7 for more thorough dicuion of negation a a dialectical category of deire. Chapter Five 213

217 telecoped into rrun. 7-14, again forming a dialectical homeward return in the final meaure where the introduction become a codetta. n- n q. b. n ~.b ~ q. & L j FIGURE 5-32: PRELUE, Or. 74, NO.2, MM. 4-7 (BRACKES ENOE REPEIION) m.ll m.l2 FIGURE 5-33: PRELUE, OP. 74, NO.2, MM One further point: whilt thi chapter wa intended to be parenthetical to our harmonic dn've ana!ji- a ynthetic project to be deferred until the next chapter- it would eem churlih to ignore the inight it can offer here. epite the lippery nature of the chromatic layer which manipulate the harmonic drive a they flow through, the graph how that, at their burgeoning point, neted dicharge begin to pill over their container of minor third aggregate drive (C, F#, A). In rrun a progreion run thu: G -7 C -7 F -7 B~, the latter two drive being o weak a to be carcely more than p-dicharge. he ame progreion i enhrined in rrun , though we mut note that the B~ i now expreed a a ingle fifth interval. F# B E A G c F II F IGURE 5-34: Rrvr:. ANALYS IS OF PR.ELUE, 0P. 74, NO.2 Chapter Fi\ c 214

218 And thi i urely one of the greatet contradiction in Skryabin' aethetic of the Prelude Op. 74, no. 2 - the low march toward death and paivity would never work in an echatological climax in any real form of the Acte Prialable. However beautiful the piece i, and depite Skryabin' claim it could lat an eternity, it i certainly wearing upon the litener after conecutive hearing and could never utain enough interet to act a an integral (and ultimate) feature of a big work. When Nemtin recreated Skryabin' Acte Prialable in hi three movement work he quite reaonably allow the only vocal line in the piece- a oprano- to ing wordlely, thu repreenting the maternal voice. But Alexander Nemtin ued the muic from thi prelude to bring about a cumulative expanded climax to the work which lead toward a feeling of muical triumph and finality- a maculine ending. 353 While thi certainly Work muically to excellent effect, it would be incompatible with Skryabin' viion of an alluringfeminine ending. Why wa it that Skryabin began to give way to thee tendencie for piece to fold back into themelve? Hi public rhetoric, clearly aligned him with the figure of the maculine, aertive, active, Promethean light-bringer; he dreamed of aving the world through hi theurgic art; he wanted to "eize the world a [one would eize] a woman"; he aw himelf a a Meiah and even mimicked Chrit by preaching to fihermen from a boat. 354 Yet thee work how a deeply maternal and feminine pace for Skryabin. Having invoked theorie from pychoanalyi, it would be a relatively imple matter to draw parallel with Skryabin' own life: hi own dead mother, hi archetypal abent father, hi conequent upbringing from mollycoddling aunt and babuhki (in which comparion can be drawn with Skryabin' hero Wagner 355 ), hi effeminate appearance and flirtation with homoexuality (and the obligatory public over-protetation about hi heteroexuality), hi mall tature and 'Napoleon Complex'. But even ignoring thee all-too-eay biographical explanation, thi maternal pace that Skryabin began to inhabit may have been invited by the realiation of hi own failure to achieve tate of ectay. A much a Skryabin i aid to have digeted Schopenhauer' acetic philoophy and taken yogic exercie, the projected plan for the Myterium loomed large, and thee mall miniature were clearly intended to play a large part in the compoition of thi major work. But apart from a few oft-quoted twelve-tone chord that exit in ketche, Skryabin' late work remain ditant from grandioe climaxe. In thi chapter I have drawn looely on the melodic expectation-realiation analye of Leonard Meyer, uffuing them with gender theory in the pychoanalytical tradition. In o doing I begin to draw dicipline together. he muical ide of thi ynthei i facilitated by a focu on melody in a relatively 153 For a decription of the role of the maternal voice, ee Bottge, Karen, 'Brahm' "\Viegenlied" and the Maternal voice', 19'" Century Mmic 38/3 (2005), Bower, Scriabin: A Biography 2, In Mein Leben Wagner refer to "the gentler imaginative impule produced by my iter". Quoted in Nattiez, Jf:/agner Androgyne: A Stllt!J in Intnpretation, Chapter l'i, e

219 implitic leitmotitj analyi, whilt the philoophical analyi pertain to imple, binary gender categorie, familiar to New Muicology. hi preliminary work i merely a tepping tone toward a ynthei of the foregoing harmonic drive theory, a adumbrated in chapter 1-4, with Skryabin' muic and hi complex philoophical world view. he remaining two chapter will embrace both melodic and harmonic 'drive theory' through analye of two major work: Ver LaFlamme, Op. 72 and Poem of Ecta.ry, Op. 54. he former will be refracted through the prim of Skryabin' mytical thought, and comparion will be invited between the eoteric writing of Blavatky and the pot-tructuralit Kriteva. he final chapter continue thi project through a Hegelian analyi of Skryabin' greatet programmatic work - hi fourth ymphony - he Poem of Ecta.ry. 216

220 Chapter Six Evolution of the Muical Subject: Panpychim from heoophy to Muical Form "[Skryabin] had no interet in the mytery of comic beginning" 356 Bori de S chloezer On thi account, Skryabin' philoophical mentor wa quite imply wrong. Schloezer' analyi of Skryabin' philoophy i often a confued and elf-contradictory a the ource material he drew from. 357 He himelf aert that Skryabin converationally epoued hi "comogonic and anthropogenetic formula", which he "elaborated by analyi of hi creative product"- hi muic. 358 hat Skryabin wa intereted in the awakening of human concioune i alo certain. Schloezer detail Skryabin' formula: Period preceding the awakening of concioune. Period of Conciou life. Period of potconcioune, which coalece with the period before the awakening of concioune 359 How do thee two enthuiam - comogenei and pychological awakening- correlate? Skryabin encountered Panp!Jchim at the lntemational Congre ofphiloopi!j in Geneva in 1904 at a lecture given by a Profeor from Columbia Univerity. In thi doctrine the univere i equated to a conciou mind, leading Skryabin to uch pronouncement a "Comic hitory i the awakening of concioune, it gradual illumination, it continual evolution." 360 Another impetu wa heoophy, which Skryabin encountered around Hi viit to Belgium brought him into contact with Jean elville, a heoophit painter who had jut finihed writing an eay entitled he fv!ytery qj'etjo/ution. elville howed Skryabin Helena Petrovna Blavatky' Secret octrine and intructed him to "et it to muic"; 361 Skryabin immediately joined the Belgian heoophical Society and, although hi muical conception wa certainly not a directly programmatic a all that, he Secret odrine wa to become Skryabin' 'bible'/ 62 and the creation of muic wa to become a theurgic act. 363 A Couin put it, "hi muic rapidly gave voice to thi vat expanion of concioune." Schloezer, Saiabin: Artit and Mytic, Bori de Schloezer offer detailed account of Skryabin' philoophical univere, baed on hi intimate friendhip. Indeed, through Skryabin' 'common law' wife atiana de Schloezer, Skryabin regarded him a a brother-in-law. 358 Schloezer, Scriabin: Artit and Mytic, Ibid Ibid., ]arrf n4enry Cotlcin, iiilfgreat b'eoiof!iir'p:lii,ei,je'/iitbe1vil!e, Ni;},fila-; &e,:i,lr\iaara: "theoophical Publihi~g Houe, 1925), 8...l<>Z Leonid Sabaneeff, '.-\. N. Scriabin -a Memoir', RJmian Review 25/3 (1966), Maria Carlon, "No Religion Higher han mth": A Hitory of the heoophical Movement in RJmia, (Princeton, NJ.: Princeton Univerity Pre, 1993), Couin, el ville and Rerikh, wo Great heoophit-paintm, Jean el11il!e, Nichola RoendJ, Chapter Six

221 Madam Blavatky' Set'ret ocffine fully enhrine the type of microcom/ macrocom doctrine that Panpychim tand for, Blavatky' catchphrae being "o above, o below". A de Schloezer remind u: "Skryabin ought to jutify hi theorie by arguing that the evolution of the univere i coextenive with the evolution of concioune... he realized the macrocom in the microcom and realized that the truth could be revealed only in ubjective pychological term." 365 A variou quotation from Skryabin undercore, thee two dicoure -the como and the pycherefract the modernit concept of 'evolution': "he univeral concioune in a tate of activity appear a a peronality, one enormou organim which at any moment experience a new tage of proce called evolution." 366 Skryabin went further than evolution and accepted the le familiar theoophical doctrine of 'involution'. hi may have been a crocurrent from elville who aw 'material' a "the lowet form of involution." 367 Schloezer claim that Skryabin modified thi doctrine to conform to hi prophey that the world would contract and 'replay' the proce of evolution in revere, within only econd of 'ectatic time', during the performance of hi Myterium. 368 Sabaneyev' account reveal that thi idea of 'involution' permeated all of Skryabin' view and opinion. A rather tartling paage, hitherto not tranlated into Englih, how that even Skryabin' rather anti-semitic view were paed through thi involutionary ftlter. He had a very precie notion of the miion of the Jew. It wa the materialiation of a "feminine principle" in the organim of hwnanity. "he Jew are all enuality. hey don't have and can't have any genuine myticim" he aid, "to them, the material i all that exit: material wealth, material, enual, phyiological ectay. heir role i to maintain and develop thi apect of humanity. And now, in the proce of involution, their role mut inevitably be very great. In thi there i nothing trange or bad. But when evolution recommence, a proce of dematerialiation will begin; then their function will come to an end." 369 epite the rather unfortunate racial characteriation, which read like the writing of Otto Weininger, Skryabin' tatement at leat how that uch evolutionary talk, and particularly hi attempt to genderie 365 Schloezer, S criabin: Attit and i'v!jtic, Bower, Scriabin: A Biography 2, Jean elville and Franci Colmer, he New Miion of A11, a St11rfy of Idealim in Att (London: F. Griffith, 1910), Skryabin' 'difficulty' in yntheiing hi egocentric apocalyptic idea with Blavatky' more etablihed theoophic ytem of 'cycle and race' i decribed by Schloezer, Scriabin: Attil and N!Jtic, ~--361)' =...e... :L.:?'_~_:_"-'=--::',:±..:... _: ~-:_.'_;,_.~ --~;~;:_.:,_':""_::_..:_:_:;.:::,;. j2; _:..;,~_ _;..:_::;~_:o~;::;!;~-.=.;.- _:..;.C::::.._;:.. ~---"'-~~""-"-...:..i.c-,.;:_:, ~ _::;.C:. - :,, :. ~-" -- --~-~ -::.....:... ~'-' - - «lviucg!ji ebpeeb y Hero 6b!Aa e1poro onpeaet\eha - 3o 6h!AO MaepuaA113YfO!.Uee <OKeHcBeHHoe Ha'laAO» B oprahii3me 'leaobec'lecba. - EBpen -Bee B '~YBCBeHHOCII. lvihchkh HaCoHmei1 y nux ne 11 ObJh ne MO)f(e, - robopha oh. - Avi HHX BCe cymecbehhoe - MaepllaAbHOe: MaepHaAbHble 6Aara, MaepHat\bHbiH 'lybcbehhblh, H3HOAOrH'leCKHH 3KCa3. Hx poab- rroaaep)f(ab H pa3biib 3Y cropohy B 'leaobe'lecbe. H ceii'lac B npol(ecce HHBOAIOL\1111 nx poab HeMI myemo AOlUKHa 6bJb O'leHb BeAHKa- B 3OM He HH'lero CPaHHoro 11 naoxoro. A BO KOrAa Ha'lHeCH 3BOAlOL\HJI, KOrAa npol(ecc 6yAe HanpaAeH K AeMaepl!aAII3aL(JI!!- OrAa 11x poab y-a<e OKOH'li!CH...» Sabaneyev, Vopominaniya 0 Skryabine, Chapter Six

222 it ('feminine principle') informed hi univeral attitude. 370 Naturally, evolution alo followed a rather erotic bent for Skryabin: And o it i with God-peronality in the proce of evolution. It accept preciely the tage of evolution it experience in a certain moment and doe not feel all the point in it organim, that i, the univere. When it reache the limit of it height, the time draw near when it will communicate it bli to all it organim. Like a man during the exual act- at the moment of ectay he loe concioune and hi whole organim experience bli at each of it point. Similarly, God-Man when he experience ectay, fill the univere with bli and ignite a 371 fi re. And natural too wa the integration of evolution into hi account of hi muic: "he modulatory cheme i alo preciely planned in Prometheu", added Alexander Nikolayevich- "here i a contant progreion from piritual key- which ymbolie the primary, piritual, undifferentiated being and the tate preceding the act of creation- toward materia/key, which repreent the impre of pirit onto matter. hu, my core begin in F# major- which i a dark blue, the colour of intellect- full of pirituality. And all thi lead to the mot material colour- red, which occur during the F-major epiode in the development. And evolution then begin anew; the tonalitie once again reach the piritual realm and everything finihe in F#." 372 hi chapter eek to explore the tructure of one of Skryabin' larger work, running it alongide hi pychological interet in evolution. Before examining the muic by thee light, my preliminary tak i to invetigate intance of comogenetic and pychological 'evolution' in the philoophical ource that Skryabin mued upon. Blavatky' Secret octrine bring the formation of a pychological como into the potlight. One of the mot firmly rooted paradoxe in Blavatky' writing i that he characterie evolution a a maternal phenomenon- Skryabin' "feminine principle" -whilt, confuingly, he alo declare it to be paternal. Symptomatic of her wholeale ynthei of religiou and cientific dicipline, thi problem reurface time and time again. Given Blavatky' trong influence, it i eay to undertand Skryabin' inheritance of uch contradiction. But with one crucial tactic, Skryabin olve thi Blavatkian riddle in both hi philoophy and hi muic, in a way that only really come to light almot a century later through the eclectic dicipline of emiotic. Given that evolutionary narrative enter the three field of anthropology, philoophy and pychology- all three topic tudied by Skryabin _.no Otto Weininger, greatly influential to Zemlinky and Schoenberg, wa noted for hi anti-emitic and myogynitic view. Like Skryabin, he combined thee with gender theory and muic. Weininger' work wa imported into Ruian by Skryabin' friend, the critic Berdyayev. Weininger, Sex & Character; N Berdyayev, 'Regarding a Certain Remarkable Book (0. Weininger: Sex and Character)', Voptv.ry philoophii i pikho/ogii/98 (1909), /berd_lib/1909_is 7 _ 4.htmL m Bower, S criabin: A Biography 2, 1 OS. 372.~.~~i'~,~ «f1psj:te!~ett_ I()~~ ~2_AY 'Yi.~l~f>H[!,~PJ_!l~~-cpll~PRLe~H~ onpeaea~h}f~~~--=-"~?gajj;ic.~1'le_~(;~hap f:hikoaaebh'l. - Y MeH.R am XOA BCe BpeM.R O OHaAbHOCeH OyXOBHblX, KOOpble COOBeCII)'IO nepbh'lhomy AYXOBHOMY Hepa3AeAeHHOMY 6biHIO, COCO.RHHIO AOBOp'leCKOI1 Hepa3AeAeHHOCH, K OHaAbHOC.RM MaepHaAbHbiM, KOOpble coobecbyjo one'laaehhjo Ayxa Ha MaepmL Bo y MeH.R ak Ha'lnHaec.R c Fi -:no CI/Htlli L\Be, L\Be pa3yma, noahoi1 AyxoBHOCH. I1 Bee :no HAe K camomy MaepuaAbHOMY L\Bey- KpacHoMy, K F dur- 3O KaK pa3 3llH30A pa3pa6okhh. A HOOM Oll.Rb Ha'lHHaeC.R 3BOAJOL\H.R... H OHa/\bHOCH Oll.Rb npnxoa.r K AYXOBHbiM, H BCe KOH'laeC.R B Fi. Sabaneyev, Vopominaniya 0 Skl) abine, Chapter Six

223 - the ynthetic modern dicipline of emiotic offer a clearer perpective. Of coure, I am alo mindful that the dichotomy of drive and deire alo figure in Blavatky' comogony; he adopt the term Kama-Riipa- a vehicle of deire- and S11chi, referring to 'animal intinct' or the 'fire of paion'. 373 Philoophy: Blavatky' Conundrum and 20 1 h Century Gender Politic Blavatky contrated the Buddhit view on creation to the Chritian. he former hold that a mundane tate of womb-like femininity developed (or evolved) of it own volition; the latter believe that a maculine creator-god coerced it, fahioning it in hi own image. Of coure, in the more academic philoophical arena, thi reonate with the popular empiricim v. rationalim argument. Central to empiricim wa Hume' adoption of Locke' tabula ra.ra- the blank late on which experience become imprinted. Syntheiing thi with rationalim, Kant' 'Copernican turn' bridged the gap between receptive mental tructure and the data they collect. \'Vhilt Skryabin wa certainly au fait with Kant' work, recommending it to hi pupil, there i no evidence of him tackling Hume' writing. he contradiction may imply be lifted wholeale from Blavatky. Blavatky dogmatically declare, "he Univere i guided from within outward... We ee that every external motion, act, geture, whether voluntary or mechanical, organic or metal, i produced or proceeded by an internal feeling or emotion, will or volition and thought or mind". 374 Skryabin, in hi own way, adopted thi ame tance, claiming, "the univere i an inner-creative proce (related to the creative beginning)... the creative beginning i the will to live." 375 Hi poetic notebook alo contain thi telling tanza: All creating-urge, from the center eternally from the center to freedom to knowledge 376 In light of eoteric imagery, Blavatky further undercore thi 'feminine beginning' via an exploration of the 'Mundane Egg' in which he claim that: the gradual development of the imperceptible germ within the cloed hell; the inward working, without any apparent outward interference of force, which from a latent nothing produced an active omething, needing nought ave heat; and which, having gradually evolved into a concrete, living creature, broke it hell, appearing to the outward ene of all a elf-generated, and elf-created being- mut have been a tanding miracle from the beginning Geoffrey.A. Barborka, he Story tif I-btmaN EIJOiution (Madra, India: heoophical Publihing Houe, 1980), Blavatky, he Secret octrine: he Synthei oj"scimce, Religion and Philoophy, l7s Bower, Scriabin: A Biography 2, Ibid., 100. m Blavatky, he Secret od1ine: he SyNthei oj"scimre, ReligioN and Philoopf!J, 359. Chapter Six 220

224 hi egg allie with 'the feminine' when Blavatky equate it with the great ymbol of the circle, repreenting the maternal womb. In much of the Secret octri11e, thi maternal (jrom withi11 to wtfho11~ capacity i maintained, though weakened in one critical ene: he Mother i the fiery fih of life. She catter her pawn and the Breath (Motion) heat and quicken it... Motion become whirlwind and et them into motion. 378 Symbol of womanhood are now coaxed from outide; in thi cae, heat or breath. hi outide affect upon the inide forehadow Freud' Identijicatio11 and Lacan' Mirror Stage. A newborn child become aware of the paternal exitence (Lacan' Big Other), identifie with it and become it. Elewhere Blavatky aert, "he old Initiate knew of no 'miraculou creation', but taught the evolution of atom (on our phyical plane), and their firt differentiation from lq)'a into proryle." 379 hi proce of 'differentiation' i the contentiou iue, the quetion being whether thi acceptance of 'otherne'- call it Freud' identijicatio11 or Lacan' mirror tage- i paternal or maternal. 380 Skryabin' own writing betray a deep concern for the procee of differentiation and identification with external image in hi evolutionary cheme. hi particularly poetically charged paragraph i found among hi notebook, and trace the formulation of the como through to 'differentiation': Something began to pulate and thi omething wa one. I do not differentiate multiplicity. It trembled and glimmered, but it wa one. hi one wa all with nothing in oppoition to it. It wa everything. I am everything. It had the poibility of anything, and it wa not yet chao (the threhold of concioune). All hitory and the future are eternally in it. All element are mixed, but all that can be i there. It exude colour, feeling and dream. I wih [deire]. I create. I differentiate. 381 Skryabin equated differentiation with knowledge: "All thi I know. I d~ffermliate it." 382 the proce of ide11tijicatio11: He alo held to Knowing myelf mean identifying with the known. I know the world a a et of tate of my concioune and outide thi phere I cannot exit. I want to know the truth. hi i the central figuration within my concioune. Of thi I am convinced. I identify with thi convlcuon. 378 Ibid., Laya, a Sankrit word, refer to a tate of mental quietude, diolution, ret, repoe and inactivity. Protyle i a theoretical (imaginary) ubtance from which chemical were uppoedly formed. 380 he Freudian category of Idmtijicatio11- when a child become aware of other people and realie that it i itelf a imilar being- i developed by Lacan to involve what he call the Mirror Stage- the moment when a child begin to ee itelf a a Y.bj~~_t_and <:11ter~ the l;j.wji oft\:i<!_j.yndjij c O.!deroi ~h~_]3iggt!j.er. hee are bothpaternal paradigm; a Lacan_ ay: "It i in the name of the father that we mut recognize the upport of the ~ymbolic furiction which, fl:om the dawn of Iii tory, ha identified hi peron with the figure of the Law." Jacque Lacan, Errit: A Seledio11 (London: avitock Publication, 1977), Bower, Sctiabi11: A Biography 2, Ibid., Ibid., 104. Chapter Six 221

225 Aligning oneelf to the knowledge of the outide world i Freud' exact paradigm, and thi form the ubject in it individuality. A Skryabin ay, "your relation with the outide world... i all that mark your individuality" 384 And thi i the central iue that Blavatky tackle in vain, forehadowing the gender politic of pychoanalyi. Lacan continue Freud' phallogocentric language by aerting an identification model, wherea Kriteva, revered by the Feminit movement, look at child development from the maternal point of view. Mother or Father? Perhap Blavatky' mot lucid account of a feminine creation model i found in the opening of the Secret octrine, where he unearth archaic iglia. Standing proudly in the opening of Blavatky' magnum opu, Skryabin would certainly have happened upon them. 0 0 e + FIGURE 6-1: BLA\'ASKY'S ANALYSIS OF ARCHAIC SYMBOl~'> he firt evolutionary ymbol i the plain dic, repreenting perfect paivity and nothingne. In the econd, taken from the Kabbalah/ 85 a 'point' mark the centre of the dic, repreenting the "firt differentiation in the periodical manifetation of ever-eternal nature, exle and infinite... potential pace within abtract pace." 386 In the third, a line ymbolize a "divine immaculate Mother-Nature within the all-embracing abolute Infinitude". 387 hi repreent the firt manifetation of creative nature -"till paive becaue feminine." She decribe how "the firt hadowy perception of man connected with procreation i feminine, becaue man know hi mother more than hi father." She jutifie thi by claiming that female deitie are more acred than male. hu "Nature i therefore feminine, and, to a degree, objective and tangible, and the pirit principle which fructifie it i concealed." 388 In the fourth ymbol, the vertical line penetrate the horizontal line; thi i the 'mundane cro', a ymbol that human life wa about to begin. he outer circle diappear in the fifth ymbol, ignifying the fall of 'pirit into matter', which Blavatky decribe a purely 'phallic'. Likening it to another ymbol of the au- 'hor' hammer' (EO) - he decribe pace a 'Mother' before comic activity, and 'Father-Mother' after life ha been awakened. In hort: the feminine apect guide evolution. 384 Ibid., Blavatky, he Secret octrine: he Synthei of Science, Refigiofl and Philoophy, 19. JR(, Ibid., Ibid. -' 88 Ibid., 5. Chapter Six 222

226 Blavatky' tranlation of the Book rifyzan (the bai of the Secret oclline) alo treat birth and evolution a feminine procee. It open with a decription of "the eternal parent wrapped in her inviible robe" who "lay aleep in the eternal boom of duration". 389 Again the maternal body envelop pace- "he mother well, expanding from within without, like the bud of the lotu". 39 For Blavatky, thi repreent a purely unconciou tate before the ego ha been formulated; we are told that it conit of "naught ave ceaele eternal breath, which know itelf not." 391 hi unconciou tate i certainly commenurate with Skryabin' idea; he declare dogmatically, "he univere i an unconciou proce." 392 But Blavatky feel the uneaine of thi image; image of Lacanian, paternal otherne conitently penetrate the dicoure in the guie of 'the ray'. 'he ray' find a place in Blavatky' writing a a ditinct paternal father figure who invet the world with heat and, more ignificantly, light. We will ee, during the following muical analyi, that thi wa alo one of Skryabin' favourite ymbol. In mytical ymbolim, the role of Prometheu and Lucifer are alient image, common to Blavatky and Anne Beant' heoophy a well a Rudolf Steiner' Anthropoophy. But although Blavatky wrote many article for her own heoophical Journal Lucifer, he Secret octrine reveal deeper interet in the character of Fohatwho repreent light and heat, and who Blavatky decribe a "the dividing, differentiating, and individualiing power." 393 When he decribe light, apparently with no connection to Fohat per e, thi 'other' maculine image i till implicit. She claim, for example, "It i the un-fluid or emanation that impart all motion and awaken all to life, in the Solar Sytem." 39 ~ But in other way too, Blavatky betray a concern with a maculine, deigning 'other': "he whole order of nature evince a progreive march toward a higher life. here i deign in the action of the eemingly blindet force. he whole proce of evolution with it endle adaptation i a proof of thi." 395 She then ugget that thi i evidenced by the 'urvival of the fittet', but ugget, "What i called 'unconciou nature' i in reality an aggregate of force manipulated by emi-intelligent being (Elemental) guided by High Planetary Spirit, (hyan Chohan), whoe collective aggregate form the manifeted verbum of the manifeted LOGOS, and contitute at one and the ame time the MIN of the Univere and it immutable law." 396 hi mind, aociated with intelligence and alo light - Fohat- hold the function of animating matter and inveting it with language. Blavatky, quoting Aritotle' PI!Jica, dicue how "world tuff'', in the form of nebulae, remain "motionle and unorganied" until "the Mind" begin to work on it and communicate 389 Ibid., Ibid., 28...::.. J9I'i5ld. 5'! 2 Bower, ScriC1bi11: A Biography 2, 104. m Blavatky, he Secret oclline: he S]wthei of S rimre, Religion Cllld Philoophy, Ibid., 529. m Ibid., % Ibid., 278. Chapter :;ix 223

227 motion and order. 397 hu mind and intelligence act a outide (Other) factor which attract evolving ubject. Blavatky pecifically ugget that the ubject need "a piritual model or prototype, for that material to hape itelf into... an intelligent concioune to guide it evolution and progre, neither of which i poeed by the homogenou monad, or by enele though living matter." 398 \Vhat i thi, other than Freud' proce of Ident!fication? Evolution for Blavatky now eem to be a maculine enterprie, however much he aerted the oppoite. A ialectical Interchange But thi maculine element work dialectically with the feminine. She quote extenively from a particular "Occult catechim": [he One] expand and contract (exhalation and inhalation). When it expand the mother diffue and catter; when it contract, the mother draw back and ingather. hi produce period of Evolution and iolution, Manvantara and Pralaya... Hot Breath i the Father who devour the progeny of the many-faced Element (heterogeneou); and leave the inglefaced one (homogenou). Cool Breath i the Mother, who conceive, form, bring forth, and receive them back to her boom, to reform them at the awn (of the ay of Brahma, or M anvantara. ) 399 hu the ubject i a dialectical product of it parent. he Book rifyzan decribe how the Father Mother pin a web whoe upper end (aociated with light) i fatened to pirit, and whoe lower end ("hadowy") i fatened to matter. hi web uppoedly expand when the fiery breath of the father touche it, but contract with the cool breath of the mother. 400 Julia Kriteva, more than any of her contemporarie or predeceor in the field of linguitic, concentrate on the 'motility' between the 'maculine'!jmbolicworld and the 'feminine' emiotic world. Freud aw the unconciou a omething that wa generally repreed to make pace for the conciou, and Lacan aw the 'Symbolic Order' a a 'one way paage'- the Imaginary wa a replacement of the Real. 401 Kriteva, by contrat, believed that any act of communication occurred dialectically between the emiotic and ymbolic, and even in the maternal chora, innate drive appeared in flux. hi flux- the ebb and flow between tate- wa alo the ubject ofblavatky' exploration: 39 7 Ibid., Ibid., Ibid., Ibid., o La can 'the Real' i literally the reality of materiality epitomied by the pure 'need' ~ 'atifaction' exitence of babie, an unmemorable feature of our live, which give way to th~ Imaginary, a poition in which there i no definite feeling of --- 'Cir: hiereiy- ~- reponse to -oo}e~t and~taenuiie~tiqr;~witli~tli~fii.-:p\tre~-ujcctivity ~-~rhis- realh-i -icliaricterted-by' Laca-~--a - 'demand' rather than 'need'. hi occur before the Symbolic Order i fully accepted. It "precede the Symbolic Order, which introduce the ubject to language and Oedipal triangulation, but continue to coexit with it afterward. he two regiter complement each other, the ymbolic etablihing the difference which are uch and eential part of cultural exitence, and the imaginary making it poible to dicover correpondence and homologie." (Kaja Silverman, he Subject ofse!jiiotir, New York: Oxford Univerity Pre, 1983, 157). 224 Chapter Six

228 he aertion of the Secret octrine i the abolute univerality of that law of periodicity, of flux and reflux, ebb and flow, which phyical cience ha oberved and recorded in all department of nature. An alternation uch a that of ay and Night, Life and eath, Sleeping and Waking, i a fact o common, o perfectly univeral and without exception, that it i eay to comprehend that in it we ee one of the abolutely fundamental law of the univere. 402 hi 'motility' between the two region alo enter Skryabin' world hitory in a rather confued paage: An impule diturb celetial harmony. hi create the ubtance on which divine idea i printed. For an intant the balance with lower degree i retored. hen by a new impule again, it i diturbed, etc., until the whole reervoir of power find it outlet in the activity of all mam1antara. 403 hee impule create a rupture in the homeotatic (harmonic) condition, which i ubequently balanced, pending further rupture. Although Blavatky, by o rigorouly applying different ytem of thought, allowed herelf to become confued by the maternal/ paternal dichotomy, heoophit generally took the maternal 'inner to outer' idea dogmatically to heart. A Harry Benjamin ay, "Wherea to the arwinian the emphai in evolution lie eentially on the effect of external force and condition upon the evolving type, from the Eatern point of view the evolutionary emphai i laid directly upon the inner piritual life of the evolving entity." 404 "hu, evolution begin to take on meaning and purpoe when viewed from the "inide" (a we are now looking at it) intead of from the "outide" (a the arwinit view it.)".\! 15 Father of Individual Prehitory How doe the foregoing analyi correlate with Skryabin' view? It would eem that the work of Madame Blavatky unveil problem that were mirrored throughout the following century in linguitic emiotic, tackled by Julia Kriteva in the Crucially, Kriteva produced a ytem baed around Freud' 'Father of Individual Prehitory', which ituated the image of the Father (or Other) within the mind of the infant, without necearily having an 'outide' or real itnage to engage with per e. 406 hi i where Skryabin become clearer than Blavatky, mediating in a way that pre-hadow Kriteva. He claimed, "My concioune can exit only in relation to other conciounee, not only with actually exiting conciounee, but with all potential conciounee that are preent in each pyche a a poibility [my emphai], a an unconciou proce taking place beyond the horizon of concioune. 402 Blavath.-y, he Semi octrine: he Synthei of Science, Religion and Philoophy, ower, S.cria.qi11: _,413iogr,aplcJ 2, 2,:.Manyantara i.acycle c:vo\utiqn, followed by a tate of univer~~l repoe ~ Ha~ry B-~~i~.EI,eryo;'. f;;t(ie iohe~~phj:/t Si,~pl; E....,Pr;;~lfo;, o;~lhe""'ti}~oo/;blmife~~~~;l~!/lo~: iheneiv Siudent (London: heoophical Publihing, 1969), Ibid., According to Kriteva the child develop or contruct it own Other, receiving qualitie from both parent before actually realiing it otherne fully from them. hu it contruct an Imaginary Father before eparating fully with the mother, independently of any Real father. Julia Krit eva, Fre11d and LotJe: trealtmllt and it ico/llent, Chapter Six 225

229 In thi ene, each peron contain the entire univere a a proce lying outide hi concioune." 407 hu, for Skryabin, concioune i not necearily awakened by actual identification with an Other peron, but by the pyche itelf, through community with imaginary Other. Skryabin epoue thi ame concept in familiar Fichtean, dialectical term- "I deire to create. By thi deire I produce a multiplicity, compriing a multiplicity in a multiplicity, and a ingularity in a multiplicity: "non-i" and "I". "Non-I" i neceary o that "I" can create within "I". 40 K He further indicate that the other abide in the elf: Every tate of concioune i a relationhip to another tate of concioune. hi mean that it appearance i the negation of all ele. In thi negation I relate to the other, that i, unconciouly I truggle with the unconciou form of the other abiding in me... And thu, thee outide relation are formulated 'from within': I am actively defining my relation with the outide o a to make my world. Generally peaking I am God. 409 hi idea wa circulating among the Ruian artit; ee Bryuov' claim: he 'Ego' i elf-ufficient, a creative force which derive it whole future from within itelf. 410 For Skryabin it became a doctrine that mut be preached to the world: "You do not undertand that each of you create the other and you exit only together." 411 Muic Regardle of our acceptance of Kriteva' theory- that the paternal 'other' i embryonically located in a maternal 'emiotic' paage toward the maculine 'ymbolic' realm- it i certainly a concept pertinent to one of Skryabin' mot unuual piece- Ver Ia Flamme, Op. 72. Although the piece i certainly not a onata, and wa only briefly thought of a uch by Skryabin, it i comparable in form, tructure and certainly magnitude. Likewie, he Poem rifecfa!)' and Prometheu: Poem q/fire are often decribed a Symphonie 4 and 5. Hull claim of the onata that, "we find a fixed evolutionary coure in which Skryabin explain the como." 412 o thi corpu of work, Hull adjoin the two "looe piece"- Poeme Nocturne, Op. 61 and Ver Ia 1-'lamme, Op. 72. In Skryabin' other major work there i a clear onata-like contrat of theme and, a hown in the previou chapter, one can eaily dicern narrative program that poit ome muical event a maculine and other a feminine. Such narrative -"c 4o7-Sdiloezer, fmabi/1: Alti.it a;; ;(lliljtic~ H Ibid., Bower, Scriabitl_. A BiograpJ!Y 2, \Vet, Rlmian Symbolim: A Stur!J ofvyache/av Iva/lot a11d the Rlmia11 Symbolit Aethetic, Bower, Scriabin.- A Biography 2, 100_ 412 /\. Eaglefield Hull, Scriabi11: A Great Rlmian one-poet (Kegan Paul, rench, rubner & Co., Ltd., 1918), 207. Chapter Six 226

230 progre dialectically throughout the piece, etablihing variou relationhip and encounter.m Often piece evolve from minicule beginning before our eye (or ear); thi developing muic i uually offet by thematic 'object'- theme that appear a already-contructed ubject. Whether a flowing melody or a triadic 'trumpet call', thee hape the evolving ubject. he Fifth Sonata preent a pecial cae of thi, where a eemingly 'outer' phrae frame the 'inner' evolving ubject of the work, flanking the piece with the external image of identification. Curiouly enough, Skryabin claimed to have compoed thi piece under ome kind of mytical intruction, eeing the whole compoition a an intantaneou mental image which he tranlated onto the temporal plane.m Schloezer call the work "a ound body unveiling". 415 Prefaced by an indication of thi exterior 'ummon to life', which Jaon Stell dub "a vague rumbling of the origin of life, buried in nebulou ooze", the onata begin abruptly: I ummon you to life, ecret yearning! You who have been drowned in the dark depth Of the creative pirit, you timorou Embryo of life, it i to you that I bring daring4 16 It bombatic oper:ing (ee figure 3-4) i immediately ucceeded by harmonically undifferentiated whole~ tone drive material (briefly explored in Chapter 3). After a brief caeura between the two world in m. 12, the Lang11ido begin with a gentle whole-tone onority. hi material develop throughout the piece, crucially evolving into a preentation of the introduction at the very mid-point of the work. he illuion i therefore created that the introduction i omehow acting a an image of identification, a mould for the organic muic to hape itelf into. hi whole concept of Skryabin calling being into creation wa intrumental to the Poem rifecla!j and the Myteri11m, but even at thi early tage, hi notebook read: You have heard my ecret call, hidden power of life, and you begin to tir. he billow of my being, light a a viion of dream, embrace the world. o life! Burgeon! I awaken you to life with kie and the ecret pleaure of my promie. I ummon you to life, hidden longing, lot in the chao of enation. Rie up from the ecret depth of the creative oul Suie Garcia ha attempted thi in her thei, Alexander Skryabin and &mian SJ mbolim: Plot and Symbol in the Late Piano Sonata, Univerity of exa, MA iertation, Reading hi detailed decription of the compoitional proce, one cannot help but remember Stravinky compoing hi Rite of Spring five year later, claiming that he wa the veel through which Le Sacre paed (Neil Wenborn, S_!rtl_lli'!kY (Lgndgn~Omni"bu~Pr~~, J295J), _6_0):_Skr}'~bi~ 11jf11elf claimed at one tage, "I am the veel" (Bower, he New S m abin: Enigma and Anwer, 1 00). hi i commenurate with Ivanov' theory o( art: "!he ariit i -called not to impoe hi will on the external form of thing, but to reveal the will that reide in them." (\Vet, &mim1 Symbolim: A Study of v)'acbelav Ivanov and the Ruian Symbolit Aethetic, 51). 4l5 Schloezer, Scriabin: Artit and i\t{ptic, Jaon Stell find Fohat here, 'Muic a Metaphyic; Structure and J\ Ieaning in Skryabin' Fifth Piano Sonata', Bower, Soiabin: A Biograplzy 2, 59. Chapter Six 227

231 he opening twelve meaure of the onata, marked co11 travaganza, clearly contitute an exordium of a particularly unuual type for Skryabin. In performance it rarely lat for more than 5 econd, taking litener entirely by urprie. My claification of thi con travaga11za ection a Other to the interior organic growth of the onata i built on firmer foundation than thoe of early muicologit uch a Hull, whoe florid analyi run thu: "An introduction of 12 bar roll back fold by fold, a it were, the curtain of gloom which enwrap the mytery. But we are only yet in the outer region." 418 hi curtain tand a 'outer' for harmonic reaon that are clarified by drive ana!ji. he opening twelve meaure have never elicited atifactory analytical repone; thoe of Cook and Baker, are perhap the mot popular, but are inadequate for my purpoe rive a11afyi find two olid tonic triad one and A with a tandard!-rive on B. hi conglomerate of drive, ordered in fifth, yntheie the three primary triad (and function) in their 'authentic' (i.e. compliant with the major cale from which they are derived) poition- E major () A major (J) and a B 7 chord (): thu the 'con travaganza', which rapidly uncoil it wound-up energy, condene the full major cale from a couchant into a rampant form- a purely vertical "intantaneou mental image". hi contrat the 'body' of the piece where drive flower and develop, orbiting their object in a typically Skryabineque fahion IS C# F# B E A FIGURE 6-2: SONt\1\ NO.5, MM Hull, Scriabin: A Gnat fuisian o7!e-poel, Nichola Cook, A Guide to Muical Analyi (London: ent, 1987), ; Baker, he Mmic of Alexander S Cliabi Nichola Cook provide an analyi of thi opening which remain within the confine of 'tonal' analyi, ituating it fu:mly within the key of ~ minor. Although thi agree with the key ignature of the onata, thi interpretation i alo quite deficient: three note of Skryabin' harmonic cell do not fit tlu paradigm. he ~ minor cale (~ E# F# G# A# B Cx #) doe not allow for either an E natural, a C~ or an Aq, nor can they be aimilated into the tructure a 'appoggiatura' or 'chromatic paing note'. Jame Baker give a more effective tonal interpretation, ituating the piece within the 'cale' (he cautiouly avoid the word 'key') of E major. hi indeed cater for the entire pitch content of the ection, but doe not fix the material within a particularly tonal context; the E for example i heard only a a trill, and only above a peritent #. Hugh Macdonald tate that "he harmony of thi firt bar i not a random dionance, a might be uppoed; it i the uperimpoition of a tritone and a fifth ued contantly in the later muic in the low regiter a an excluive left-hand formation." (Hugh lvfacdonald, Skryabi71 (London: Oxford Univerity Pre, 1978), 53). But depite facd nald' a rtion, the onority which Skryabin preent do not conform to any of the tonal cheme which Skryabin generally exploit. he fifth and tritone do appear together in Skryabin' later work (and the earlier one a well for that matter), but thee are uua lly relative to either a mytic chord or a ritan chord or an 'augmented ixth chord', all of which are readily claifiable. he chord here i very different. It i not whole-tone a the pitche E and F#, which appear o ignificantly throughout the ection a well a the G# and B, prevent the ection from being explained a 'octatonic'. 228 Chapter Six

232 In Ver Ia Flamme, Op. 72 however, the muic produce no contrating theme, and the evolution of a muical ubject follow a ingle line of trajectory toward a final climax- what Jim Samon call, when he peak of thi ame piece, a "cumulative momentwn", a "carefully paced crecendo". 420 A Faubion Bower put it, 'lver Ia Flamme] i compoed eentially of two note - that familiar decending halftep- which crackle like lahing flame... he whole piece i like a Roman candle of increaing magnifying blaze, until it become conumed in it own flame." 4 ~ 1 here i no 'other' muical ubject that erve a a 'grown-up' (already contructed) example, and thi dicoure eem to work within the confine ofblavatky' feminine model of comogenei. However, ubject-forming doe come within the paternal region by the end of the onata. Symbolied by 'light' and 'knowledge', which Skryabin famouly tried to depict in muic, thee ymbol are located at the croroad of the two parental function. But regardle of gender iue, the piece certainly embodie Skryabin' word: "For my infinite exaltation I need infinite development, an infinite growth of the pat... I had to pa through an infinitude of centurie in order to awaken to my preent tate." 422 Pertinent too i Wagner' decription of muical progre in Opera and rama: Starting out from the fundamental note of harmony, muic grew to fill an immenely varied expane in which the abolute muician wam aimlely and retlely to and fro, until he grew afraid. Ahead of thi he aw but an endle billowing ma of poibilitie, while being conciou in himelf of no ingle purpoe to which to put thoe poibilitie. 423 he two concept that underpin thi analyi- Freud' Identification, Lacan' 'Mirror Stage'- each chart the journey of preternatural drive into the ymbolic world of deire. And thi i the motion that dialectically flow through the textual and muical analye that follow. Skryabin' Ver Ja Flamme: Poem, Op. 72 Ver Ia Flamme open with an ambiguou pair of third, moving immediately to a French Sixth chord in G~ major l ; (an a-rive one and A~)..-0--!"llegro modet a.to ~ ~!:~; #!~~~~~~. ~... ~::::::=-~~~~~~~==-~~~ "~~ con lf()rd. FIGURE 6-3: VERS LA FLAlvlAIE, MM Jim Samon, M11ic in ranition: A Study of onal E xpanion am/ Atonality, (London: ent, 1977), Bower, Sc1iabin: A Biography 2, Schloezer, SC!iabin: A 1tit and Nfytic, Nattiez, 117agmrAndrogyne: A Study in Intelpretation, 54. Chapter Six 229

233 he upper third- C#- reolve to, whilt he lower- A#- i retained in the ubequent chord, commuted to a lower octave. hu the C# -7 reolution repreent an iolated voice-leading motion. hee third are altered in m. 3, leading into m. 4, to enunciate F#/ A# rather than A#/C#. hi pair of third intimate a refracted F# triad, and thi triadic object negate the pregnant a-rives hi tai open countle Skryabin piece but i ordinarily hort-lived. Generally, tate of inertia are mobilied by material uch a grandiloquent triadic tatement or trumpet fanfare. But the ole diturbance to Ver Ia Flamme' maternal womb-like onority i the pitch F# in the melodic line of m. 3. ranient a thi i, it emerge climactically, underpinned by 'hairpin' dynamic. We now confront the quetion of whether thi F# i an 'other' pitch, working "from without to within", or a neceary expanion of the welling maternal womb from "within to without". wo conideration upport a 'from within' interpretation. Firtly, F# i ubumed by the ame whole-tone collection a the a-rive hi correpond to other piece (ee Sonata no. 5, Op. 53, m. 13) whoe opening onoritie form incomplete whole-tone collection, eventually extending their embrace to miing pitche. 424 Secondly, the F# i the root of the implied triad, formed from the fragmented third- A#/C# and F#/C#. It i triking that the pitch i articulated above a utained ba tritone, creating an evanecent!-rive on F#. he tritone i utained from the previou meaure, rather than being re-truck, allowing the new pitch to be celebrated by itelf- it ha room to breath and expand within it allotted time-frame like a cadenza. A quickly a thi note appear, o it cautiouly diappear in m. 4. Skryabin compoe everexpanding muic and, to thi end, new element mut be rooted in the old, to which Skryabin frequently return; they mut therefore be introduced delicately and cautiouly. he F# further feature over an A# in m. 5 a a pair of ixth. Becaue thee ixth overlay a tritone (G/C#) and reolve onto yet another (F/B), they generate a new a-rive (ee Appendix E). hey alo maquerade a inverion of the anacrutic opening third, metrically diplacing the harmonic refrain. Another new element, introduced in m. 3, i the increaed rate of chordal ocillation. Looking at the interaction of the two chord reveal that the chord begin to yntheie: the inner G# tart to trail below the C# rather than it tritone companion, and the F#/ A# ixth are truck 'on the beat'. hee rhythmic diminution are wiftly rejected, and the original non-yncopated triple metre i reviited. But thi rhythmic collape ha irrevocably ruptured the tranquillity and the F#/ A# ixth are heard once more 'on the beat' in m. 5. he new element ha been otenibly dicarded, but actually cautiouly aimilated. Skryabin' formula i apparent from the outet. he ne1v component- a r0'thm or pitch- i.. pmented a a natural extenion oj}he.ojd,: ajt!!_ _~'2i'!i{ial appearana and uppreiqn it i c(lr;ef'ff!y integrated back into 424 In Sonata no. 5 the La11g1ido chord atm. l3 contain E~, F~, G#, A~. hi whole-tone cluter extend to include # in m. 14. he only abent pitch- B -remain eluive on thi occaion, but appear in a contracted verion of thi opening in m See figure Chapter Six

234 the muical fabric until it i normalied and accepted. hu an ever-evolving ubject, with motility between two world, i conceived. But whilt I have hitherto drawn an objectal relationhip between the opening chord, the two element may be regarded a one whole. Amalgamating thee pitche (F~, C~, E, A~, G~, ) unveil a fj!ytic chord. Why ha thi famou chord been polaried into augmented fourth (E/ A~, G~/), and perfect fourth (C~/F~)? he element which arie a an 'other' onority appear to be the F~ triad, and the maternal element i the whole-tone a-rive - the chora. Otherne i now ituated within thi maternal body a the 'Father of Individual Prehitory'; a paternal 'viion'; a pair of fifth, neded within the mytic chord. hee fifth (fourth) - durable ymbol of maculinity- will continue to be invetigated through thi chapter. One mut alo be enitive to the fact that the my.rtic chord held particular aociation for Skryabin. uring the London Prometheu.r rehearal in 1914 he decribed it a 'd1e chord of the pleroma'. Pleroma, a arukin explain, i a Chritian Gnotic term for 'plenitude': "It preternatural tillne wa a Gnotic intimation of a hidden otherne, a world and it fullne wholly above and beyond rational or emotional cognition." 425 Skryabin alo related the chord to the upper note of the harmonic erie. Analyt have alway conteted thi view, maintaining that the harmonic erie i incompatible with equal temperament; Peacock' thei Prometheu.r: Philo.ropi!J and Structttre provide tranlation of correpondence from 'overtone theory' advocate, Leonid Sabaneyev. Skryabin, it eem, wa aware of the limitation of equal temperament and experimented with a harmonium in an attempt to trancend them. 426 Skryabin wholeheartedly approved of the my.rtic chord in untempered pitch; the chord therefore repreented 'nature' for Skryabin. 427 hu in Ver.r Ia Flamme, nature i divided into a maculine tonal chord and a feminine, womb-like, whole-tone onority. Ver.r Ia Flamme continue to evolve in mall increment; each development i enitively primed and ainillated. In contrat to onata and ymphonie, where the coloal dialectic of the outide world (calling the inide world) propel the ubject forward, the ubject here appear to be fatherle; every phae of development i maternally guided. Ver.r Ia Flamme i poitioned in thi maternal realm, where development i introduced naturally and eamlely, each new element inlmediately folding back into itelf. he following table trace the tructure of Vn:r Ia Flamme, highlighting the way in which the 'new element', which drive the muic forward, arie naturally from the ever-growing material. 425 A Quoted by Simon Morrion, 'Skryabin and the Impoible ',Joumal f!fbe Amuican Muicological Satiety 51 (1998), Peacock, Alexander S criabin' Pron1etbm: Philoophy a11d S tmdure, hi could invite comparion with Schenker' 'chord of nature'- the triad. 231 Chapter Six

235 M. New Element Origin 1 ivided mytic chord Prometbe11, Op. 60. erived (uppoedly) from nature. 3 Pitch F~ Complete the implied whole-tone cale, further com_qlete the mytic chord. 5 3 tranpoition From the opening meaure. Axial rotation, connected by F~/ A~ ixth tranpoition See m. 5. Inverion of opening a- 01 uve 14 New chord Chromatic rie/ fall from opening, Partial ubmiion to the f>ull of the Frmcb Sixth (a-rive on BP). 19 B minor chord See new chord atm. 14, m. 19 i a natural voice-leading extenion. Overlaid third he upper note fill the mytic chord. 27 Melodic layer i added. Inverted C~ -7 from opening. Pattern of melodic overlay i an extenion of m. 19' overlaid third. 31 Upper G~ in melody Propenity for F~ to rie to G~ in the inner voice at mm Pentuplet outlining pitche E/B From E-B alternation in mm in ba. /G~ pitch alternation Stem from melody atm. 27, panning /G~. And alo from opening a-rive Relationhip crytallied at m. 44 when lower to C~. 45 Melodic A I G~ Succeive tranpoition of voice, etablihed in opening equence. 46 Melodic decent from G~ to C~ Prepared by accompaniment in previou meaure. 48 Inner voice pitch ecent from El1 in preceding meaure. Echoed melodically, an octave higher, atm ouble-voiced F-C fifth in F pring from previou emitone decent; C continue melodic line. Major econd in upper voice. Major econd reult from the diruption lower voice rather than fourth. of fourth, due to the F-C fifth. 61 Both upper voice 'drop-out' hi omiion balance the previou bar' denity, affording a brief repite, before re-entry in m Octave F~ in ba Octave C' in m. 60, which were by-product of the F- c. 65 Semi-quaver in ba Seem. 41 -identical pitche preented a poly-rhythm (9 v S) 70 wo moving inner voice he voice are arrangement of the opening meaure. 73 Melodic major econd -F/G. Vertical contraction of major econd motion of melodic line. 76 Second alternate (additional hee were horizontally alternated in previou meaure. econd: /C) 77 Rapidly alternating econd. Previou meaure and opening. Opening expanion/ contraction model in lower part. 81 Replacement of alternating Opening. Pentuplet from 41. econd with third / fourth from opening. Pentuplet. 84 Opening pattern i elongated. Opening. 97 New rhythm in upper teitura, See jollowi11g diawiofl coincidihj{witli new climactic- _::=:..._ taccato 5 note repetition 107 Remodelled opening with taccato ritone / third, alternating from opening. motive overlaid. Vigorou Chapter Six 232

236 alternation of tritone G~/ with third C~/ A~. 133 Ver Ia Flamme end with taccato See fourth in m. 97. repeated chord. FIGURE 6-4: VERS LA FLAMNIE, S"L,\G ES OF ORGANIC GROWfii rive Analyi I ritje ana!ji can alo hed light upon thi evolutionary tructure; a complete graph of the piece comprie A ppendix E. he concept of dicharge i very ketchily intimated in the opening when one tenile chord (the a-rive) 'reolve' to a dilocated F~ triad. hi reolution i indirect of coure; a drive one would naturally reolve to a triad on A, rather than it t3 ubtitute F~. And until m. 14 there are no direct dicharge in thi paage at all. he body of a-rives circulate the axi- E, G, c~ and B\1- whilt triad on the relative axi- F~ and A- freely move, never a the reult of direct dicharge. M. 14 contain the firt direct dicharge in the piece, caued by the a-rive on B\1 which reolve fully to the chord ofe\1. F IGURE 6-5: VERS LAFLAMME, tvll'vl he narrative of thee bar i unmitakable: drive circle object before attaching themelve, and thu the 'muical ubject' become a deiring one. From thi ignificant juncture, direct dicharge (often 'neted') become the norm, and the harmonic tructure eventually yield variou neted cycle of fifth. he drive ana!ji graph (Appmdix E) how numerou intance of thi. FIGURE 6-6: VERS LA FLAA1ME, MM In m , a chromatic decent i accompanied by uch a cycle which locally rotate all three tonal function, ending on the original axi: B ~ E ~ A ~. In thi ection, the drive are particularly weakly articulated h ;;_RJ VES > /-R.I VF$ and i- 1 uvf. hrough the coure o f the work the drive regain their trength, though thi proce will be dicued in due coure. Furthermore, the drive on the following page of Appendix E become cattered and diociated. Gone i the dene axial network of a -RI VES from 233 Chapter Six

237 the opening. It eem that the drive, having learned the ecret of dicharge, move away from their comfortable network and explore their own individual territory. Melodic Analyi hi dicuion correct the bia toward harmonic analyi by looking more cloely at melodic procee, a tak begun in Chapter 5. hi bia i ytemic of Skryabin cholarhip and, depite the many analye of Skryabin' compoitional ytem, there have been comparatively few effort to tudy the pitch tructure of hi melodie. he concept of melody i not a germane to Skryabin a it i to a Mozart aria or a chaikovky ballet, and often, what one regard a melodic line in a Skryabin core i merely the upper voice of a thick texture. Yet there are enough refinement in Skryabin' melodic writing to aure u that great care ha been taken with the unfolding of melodic pitche. Of coure, with my Meyerian premie, the introductory C# -7 gambit indicate chromatic continuation. hi tenaency i generally allowed full reign. Skryabin affect a large chromatic acending arch, each pitch carefully placed and contextualied to induce the enation of acenion, expanion and evolution to lat throughout. he chromatic acent unfold (in a Schenkerian meaning) from foreground to background. Significant pitche are often thrown onto the texture a 'tranger' to the chromatic rie, but the novelty of thi triking effect i uually watered down through the immediate 'negation' afforded by the chromatic decent to fill the gap produced by the leap. he note thu materialie in the 'wrong' order. I have marked thee with double arrow-headed line on the following graph; uch i thecae inmm. 5-6,11-14, 19-23, " I ::::::::::::::::::::::::::::::::::::::::::::::::::~:~~==~ H miing '' JULJ i, ~- -- c~'-.,.., - " J.I.-P- -- '1'-..a.!CI i i i H(#) retored C# miing m miing C# retored EI>(~) re to red - lower 8ve FIGURE 6-7: MELOIC SRUCURE OF VEIU LA Fl.AMME- FOUR 8VE CHROtviAIC ASCEN A reordering of alient note produce a clear acending line that incorporate mini-chromatic decending line and, in the opening 23 meaure, riing fourth: motive ~ and motive Q. hrough the delicate combination of thee motive, a tructural chromatic acent i carefully unfolded. Apart from the very firt meaure, thee mini-progreion are not imply the product of mechanical 42 ~ Analying the graph of the chromatic acent one dicern a miing C#. he ignificance of thi miing note, a well a the miing Ei> in mm. 1-5 will be dicued oon. Pleae note alo, the dahed note beam indicate pitch-cla connection. 234 Chapter Six

238 tranpoition. he C, which i produced atm. 19 for intance, i overlaid above the t6 tranpoition of the opening meaure that contituted mm he decent from mm i a imilarly tructured equence. Following a tritone acent from AP to (via CP), thi conequent decent complete the intervening tone (omitting the AP, and 0). he tritone kip i actually broken into two minor third, facilitating a play of expectation: the rie from AP to CP would ugget, given the nature of the previou meaure, that a chromatic decent wa imminent. Intead, Skryabin tore up the tenion that would be releaed from thi gap fill, and allow it to be expended in a lo nger time frame. he unfolding of thee tructural pitche alo embodie a careful proce of integration. A with all 'new' element in the piece, they are urreptitiouly introduced in the margin before being aimilated into the tructure. M. 66 confirm thi when the pitch E i introduced a an anacrui to a ~, enjoying fulllegitimiation only in m. 69. A comparion of mm with mm i noteworthy. Although a recapitulation ugget itelf toward the end, it i heard more a an aethetic fuion of material gathered thu far and, in term of melodic contour, the introduction of new pitche in the final part doe not eem to accord with that of the firt. In mm. 107 Skryabin plainly call on the ame acending [0,3,6] diminihed keleton, but provide no chromatic upport to fill thee gap. If the decending chromatic line embodie all thing feminine, and leap (uually of fourth) embody all thing maculine, then the trajectory of the piece i a weeping manoeuvre from womanhood to manhood. It i urely not coincidental that the grandioe finale introduce lowly arpeggiated fourth. FIGURE 6-8: FINJ\L MEASURES OF VERS LA Fl.AMME But how doe one interpret the miing pitche - C~ and E[,- in the riing chromatic line? he pitche do pertain to the piece a a whole, but are alienated from the acent; they lurk in inner part amid harmonic (rather than melodic) procedure, and therefore could only be aimilated into my model with great reervation. he miing C~ (mm ) i certainly the mot conpicuou becaue, after m. 23, one would be expecting to hear a continuation of the riing diminihed node and their complimentary 'gap-fill'. One would expect to hear an EP falling to a C~ but, intead, Sk ryabin tranfer the dicoure to a lower teitura and lowly recontruct the acent from a low perpective, moving irnmediately to a C# an octave below atm. 27. We are back to 'quare one'. he contour then Chapter Six 235

239 rie, a ytematically again, to an upper en after a 40 meaure recontruction that develop the previou material into new onoritie and texture. en (and it partner ) i thu betowed with tructural ignificance, dividing the piece' epiode into clear octave. he fact that en i heard at the eventual climax and final onority expoe omething of thi note' guiding power; it ha been tranformed. he other conpicuouly abent pitch i E11, which only urface (in the guie of ~) tructurally at the epicentre of the piece (m. 67). It i omitted in mm. 1-5 and, more crucially, in mm It abence from the final meaure i hardly urpriing a the chromatic acent break down almot completely here. With the EP miing in the f1nal meaure, interval begin to widen: C~ ~ ~ E ~ F~ ~ A. hi i the exact mirror of the opening gambit of the Op. 74 prelude that I examined in the previou chapter. he crowning C~ of the piece would eem to cloe thi gap, but acending perfect fourth from the (n (enharmonic El1 )-Gn-cn), at a more foreground level, counteract thi tendency, thu completing the melodic chromatic arch, whilt reinforcing the two newly reintated miing pitche. he Pinnacle of Evolution Like Skryabin' other major work, Ver Ia Flamme advance toward a tate of ectatic climax. In orchetral piece climaxe break through mot dazzlingly in the final meaure, whilt they can erupt poradically in the late onata. epite thi, Ver Ia Flamme' climax follow the orchetral model, appearing at the very concluion. hi unique climax emerge and endure from m. 81 to the final chord - an extended epiode for a five-minute piano work. Moreover, Ver Ia Flamme climaxe through the recapitulation, croing formal boundarie to maintain the expanion. Contrary to the audibly identifiable recapitulation of the more conventional onata tructure, the recapitulation of Ver Ia Flamme enter obcurely in m he intricacie of thi recapitulation and it preparation will be revealed through drive anajyi. My firt focal point i the puh toward the final climax- the Eclatant, lmnineux. A m. 81 advance, the drive accwnulate. In m. 77 a major triad o n E underpin an i 1 -RIVE on C~ and a /-RIVE on Bl1 (A~). he ancillary melodic pitch q in the left-hand oon invet thi chord with a tronger driving quality at the end of the meaure- a / -RIVE on E. he ame q additionally promote the ertwhile /-RIVE on Bl1 to an a-rive Chapter Six 236

240 77.A I 78 f'l v ~~ ;;, ~:.Jt~ J ~ ~ A( ~ ~: J 1 - FIGURE 6-9: VERS LAFLAMME, MM In m. 78 a further melodic F~ upplement the drive economy by adding it own /-RIVE> thickening thi already vicou onority. 4 " 9 It eem that gradually accumulating melodic pitche fortify drive force. - But thi conolidation proce erve only to intenify the diparity of that which follow. Fromm. 81 the ubequent drive are urpriingly enervated, a hown on Appendix E. 81 li:~ata.nt, lumlneux 11, ~~ Ji % ' _p41-l a: 1 I'"' I I'"' I I I"" I l L" J I'"' I I'"'.,. I 5 I J -- FIGURE 6-10: VERS LAFLAMME, J\illVJ A minor triad on G and an i-rjve on Bil are perhap the mot tenile force for everal meaure. Specifically, chord loe definition in thi paage of diolution; third are removed (.i- 01 uves), fifth are miing (l- 01 uves) and even eventh are occaionally abent (major or minor triad). In thi cae, the purity of the axi (there are relatively few 'alien' drive in thi ection) fortifie the individually fragile drive. In the final analyi thee drive recover from their diipation, recontituting themelve in a 429 A a brief aide we mut take the opportunity of noting that a baic interpretation of Skryabin' muic would latch onto the ue of the mytic chord on E in m ive ana/pi here i able to cater for the alien pitch B that ful fil uch a pivotal function in the drive procee of thee moment. 237 Chapter Six

241 doubly fortified function- a concentrated axi compriing virile, robut drive. Focu harpen in m. 90 a!-rives on C#, BfJ, G and E reach the urface. " ")1. l."t. _l._! ~:::r. ~ ej LJ...J ~ L..J...I I L..ll1.LJ...tJ ~l.!j '- ~...,. 1"""-f _.,.!Ia.: : ~ - ~ j_ -- FIGURE 6-11 : VER5" LAFLAMME, MM Subequendy, the mot compelling drive are the!-rives from m. 94 ff. A turdy a thee reinforcement become, the ultimate diolution announce itelf in the final meaure- mm. 129 ff. he dn.tje ana/yi graph imply read: " drive ana!ji become redundant here". Sk.ryabin' harmony now loe it triadic bai, becoming genuinely quartal. Critic tend to reject the view of Skryabin' harmony a quartal, and dritjc ana!ji confirm ernova' diagnoi that Skryabin merely make ue of quartal ditribution, rather than quartal contmction, the triadic bai of hi chord remaining intact. 430 However, the final moment of the piece compile perfect fourth- A#, #, G#, C# -, thu a turating the ertwhile drive-aturated chora with a point of maculine, objectified deire, leaving the apparatu of drit;e ana!ji behind. I One virtue of drive ana!ji i it potential for unearthing link that otherwie remain buried. In one particular intance the drive reveal a certain formal boundary, where motivic material would ugget a contrary interpretation. he recapitulation, I would claim, begin in m I deem thi recapitulation to be 'eamle' becaue of it drive configuration, which allow it to flow effordely from th 430 Guenther, r "m-vara emova' "Gamtoniia S kriabina": A ranlation and C!itica! Com mental)', 41. Guenther provide a ummary of variou 'quartal' interpretation of Skr) abin' muic. Sabbagh explore the integration of quartal and triadic tructure; be cuelopmmt of HarmOI!J in Soiabin' fp"ork, Chapter Six

242 preceding material. In m RJVES appear one and F~, with additional C~ Wi- 0 R 1 vj and G~ (/- 0 RlvJ (95) ,,_ -...,j ~~.1""""'7'""'. -~t., l , ~w- ~- ~ ).»J- j) ~ ~ ~- _, ~- - ~"- r.--:-:---:--- FIGURE 6-12: VERS LA FI.AMiHE, MM hi latter configuration i embodied in a tranfigured verion of the opening material, now inveted with febrile tremolandi, and, were it not for harmonic difference, one would be inclined to judge thi to be the conception of the 'recapitulation'. hee two drive configuration alternate until m. 107, when m. 97' figuration- a tranmogrification of the opening- i tranpoed upward at t2, which now uit the expoition' harmonic make-up..--:--:--:--- FlGUilE 6-13: VERS LA FLAJ\.-liVIE, M. 97 & M. 107 he tranpoition in m. 107 announce the recapitulation, whoe inception i eamle becaue it preceding meaure alo contain the 'correct' drive configuration-!-rives on E and F~ embedded though they are in fuller drive texture. hee now lot into place with the recapitulatory motive. Chapter Six 239

243 Comparion with 'real' onata form i invited, whoe climaxe tend toward the cloure of the development. In uch form the recapitulation recuperate from the ionyian ectatic moment by reviiting deeply engrained theme from the expoition in a modetly faithful retatement. Sonata no. 5 i perhap the paradigmatic opu in thi repect, it climax abruptly halt, initiating the recapitulation after a fermata. O nly Sonata no. 4 tand apart from thi mould, but for programmatic reaon. A illutrated, it followed the trajectory of a man flying toward a tar- toward ectay. But even thi work betrayed cogniable leap in it evolutionary flow, particularly in it recapitulation (i.e. the atlacca between movement). Ver Ia Flamme flow more eamlely between it variou tate. here are numerou alteration to the original drive tructure of thi recapitulation of coure. Notably, the ertwhile tritone of the ba' pedal now enunciate perfect fifth; the A~ (hovering above the E) i modified to a B Yet again, Skryabin negate the drive from the opening to create a le tenilem aculine - environment in which pure drive i rejected in favour of ymbolic geture - motive 0. he emiotic i rejected in favour of the ymbolic. But through thi heightened phae of drama, a further profound geture take centre tage. M. 97, with it authoritative, repetitive fourth, i intantly contrated. epite being cat aide, thi 'new' material till manage to hape the climax of the piece. But rather than yntheie theme and key, which the recapitulation of onata form would generally accomplih, thi i the firt flah of truly polaried material, manifet in the rapid alternation of motive. he udden hift in regiter, combined with wider interval (oppoing the previou major econd) and an increaed rate of tremolando produce a tartling, if omewhat meretriciou, effect. However, one mut be wary o f overtating thi polarity; variou bond do fix m. 97 firmly tom. 96 (and urrounding meaure). he upper 'fourth chord' are a familiar character in a new guie; they aturate the latter half of the work, and indeed, m. 96 encompae the pitche G~-C#-# -F# (from bottom to top). Rearranging the # (by commuting it to the bae of the texture) would generate a fully quartal onori ty but, a it i, three fourth are already exhibited- G#-C~-F~. he fourth in m. 97- F~ -B-E- continue thi equence: G# - C~ - F# -7 F#-B-E. rive ana!ji betray ubterranean connection here, finding / -RIVES eparated by a whole-tone- on E and (mm. 97 / 101)- akin to Harrion' original 'double barreled dicharge'. hi forge a S/ colliion, indicating a of A- a t3 ubtitute for the F# of the opening. In m. 111 thi expectation i fully realied in the / -RIVE on A, but from a different vantage point (imultaneou drive on F# and E F# being a ubtitute 7). However, depite thee connective device, m. 97 i certainly a novelty. But perhap the outward appearance of polariation i imply withdrawal from a ingle protracted evolutionary metamorphic trajectory -a tbetic break; the ubject become plit, enter into the Symbolic 43 1 hi aid, the An till tremolo in the inner part. Chapter Six 240

244 Order, pae through 'the mirror tage' in a moment of elf-recognition in the Other. he recapitulation mark the point of no return. From here, the new material never look backward; the ubject i free to create for itelf. oe thi repreent the final tage of the ubject' evolution- the birth of concioune? A the piece cloe, the ubtle texture of polytonal drive dilute into a negating tring of maculine riing fourth. Skryabin' goal i complete; no longer the womb-like feminine tate of materiality, we are now in the maculine realm. Evolution certainly progree unfettered. Everything increae: the carefully notated tremolandi, replete with intricate tied note, now become inceant and feverih; the regiter leap to unforeeen height. But thee geture coalece beneath a dene ymbolic regime, which I hall now examine. Poiei At the end of Ver Ia Flamme the principal ymbol, a uggeted by the title, are light and heat, embodied in the flame. he title invite the direction 'toward', betraying a teleological bia to the work' poetic, an orientation alo admitted into the muical tructure. hee two element of the flame- heat and light- hare an ambiguou relationhip here. Schopenhauer claim, "the will i warmth, the intellect i light", but Skryabin' intention are clarified through ymbolic muical contruction. 432 Skryabin metamorphoie one of hi claic ymbol- trill. A Garcia how, "Scriabin ue trill, tremolo and other floritur to allude to light and by extenion, to divine illumination." 433 She quote Bower, "he ue trill inceantly for luminoity. rill to Scriabin were palpitation... trembling... the vibration in the atmophere and a ource of light." Garcia alo claim that thee trill fall under the domain of the erotic.~ 3 ~ Kriteva herelf, examining the poetry of Vladimir Mayakovky, find the un (and therefore light) to be ymbolic of the father. hi reinforce gendered contrat that are fully commenurate with the eoteric ao principle, influential to German Romanticim, ofying (female, death, darkne) and Yang (male, life, light). 435 But, a Bower claim, "rill no longer uffice for Skryabin' frenetic pianim. He now write pam of eight clutered, haking and quivering note." ~ 36 Skryabin' infamou 'trill' become tremolandi. he fact that thee begin by ocillating cluter of major econd betray the ynthetic element of thee two form of 'decoration'. In a work uch a Sonata no. 9- be Black Ma- trill uddenly accompany dratic change in muical tyle. he ame i true of the Sonata no. 10, which Skryabin call "a onata of inect" becaue of it trill, linking thee ynecdochally to the image of the un- "inect are born - -m Schopenhauer, be lf'7odd af J1'7ill ana Iilea;89. m Garcia, 'Scriabin' Symbolit Plot Archetype in the Late Piano Sonata', Ibid., See Julia Kriteva, eire in Language: A Semiotic Approach to Lterature and Arl (New York: Columbia Univerity Pre, 1980), 29; F riedrichmeyer, be Andmgyne in Early Gern/(//t Romanticim: F1iedricb S cblegel, Nova/i and the Metapf?yic qf Love, Bower, Scriabin: A Biography 2, C:haptcr Six

245 from the un"; 437 they are "kie of the un come to life"; " the un come down and bliter the earth". 438 In the enth Sonata trill become attached to triad and o ther type of 'already evolved' object. Figure 6-14 quote the /umineux vibrant chord a example of trill that reveal an otenible alliance with luminoity. lumilleux vibrant JU tr- fr"'-- FIGURE 6-14: SONA1\ NO. 10, LUMINEUX VmRAN But tremolandi fulftl a different function- a feminine function. In Ver Ia F/amme they accelerate from the opening meaure. Where deliberate, alternating harmonie repreented the initial maternal tai preiding over the beginning of the work, feverih tremolandi now rupture the final page of the core, the intricately alternating rhythm becoming a total tremolando. o ituate u within the gender polaritie of the piece I appeal to a ignificant moment in the text o f the Acte Prea/ab/e. wo element give birth to comogonic concioune: wave and ray of light. he union of thee two apect take a decidedly exual turn in Skryabin' 'poem', a Bori de Schloezer decribe, "A oul i born from the union of the Ray of Light and one of the wave." 439 hee wave are female, paive object a decribed in the text, the principal wave declaring, " I wa from m y iter torn away."-140 he wave alo participate in a chant of word, decribing their erotic blooming, among which we read of "tremor" and " throb". hu thee tremolandi, which originally outline drive, are Skryabin' muical ymbol of womanhood. 441 However, tremolandi become trill-like when major econd are added. In thee intance, the econd (trill-like, ergo maculine) vacillate fourth and fifth (another ymbol of maculinity) until polarity i born, culminating in the taccato fourth of m. 97. he maculine then, i born o f the feminine- Kriteva' Father riflndividua/ Prehitory. hi theoretical Freudian figure wa found in Skryabin' philoophy and now, it eem, in hi muic, depite the fact that, in the text, they are conceived a two eparate character. he taccato fourth, enunciated in the upper regiter therefore repreent Fobat, the Promethea n light bringer. hee fourth- product of the feminine wave - draw the muic to it inevitable concluion when the cbora i thoroughly repreed in favo ur of a to tal aturation of quartal, drive-negating harmonie. I thu approach a more ophiticated verion of the populariing narrative account, common to Skryabin' early critic in muicology: " he muic Ibid., Bower, be N ews cnabi1r: Enigma and Anwer, Schloezer, Scriabin: A rtit and JV!ptic, Ibid. 441 Ibid., 299. Chapter Six 242

246 gradually acquire more and more life, light and rhythm until the chief ubject i clearly defined; thi grow more and more luminou and brilliant, finally ending in a climax of blazing radiance..." 442 Chapter 5 uncovered motivic gender ymbolim in the Fourth Sonata, but thi chapter enhrine it in harmonic theory. In Ver Ia Flamme, ymbol are born from each other, returning u to the dicipline of emiotic. In the Beginning wa the Word A part of Skryabin' earch for the Abollfte he flirted with the idea of tudying Sankrit- the "primordial Aryan language" - but he engaged with emiotic more rigorouly by collaborating with fellow heoophit and profeor of elocution- Emile Cicogne. 443 he pair hoped to create a univeral language for the Myterium. Le quetionable emiotic concern were theoried by Skryabin' poetic aociate uch a Andrey Bely, whoe novel and poem earch for the 'muicality' of text. Bely' eay decribe hi ue of onata-form in hi poetry; he called hi poem 'ymphonie', uing principle of 'verbal orchetration', +H leitmotiv', 445 and he regarded Helmholtz' P!]chology ofone a a bai for hi hierarchy of vowel. 446 Bely alo applied current theorie of child pychology in hi novel Kotik Letaev, in which he ued language to develop a 'harmonic tructure' that follow a trajectory from childhood to the elf-concioune of adulthood- another refraction of the evolutionary paradigm under conideration.h 7 It i urely no coincidence that Kriteva choe to adumbrate her theorie of the linguitic chora by examining the ymbology of Ruian poet. Similar to Bely' heoophical novel Peterburg and he Silver dove- in which the ound "uu" aume ymbolic meaning in itelf, imilar experiment with 'ound word' penetrate Skryabin' text for the Acte Prialable. Such concern pertained to heoophy. Blavatky herelf invite u to magnify her work through a emiotic len, though thi i hardly novel- one find rumination of the relationhip between word, thought and meaning in Plato. But Blavatky goe o far a to ue gendered terminology. In particular, her aociation of he Word (or Logo) with the maculine apect of evolution- a gift betowed from outide the developing ubject -led her into the heart of Lacanian emiotic. Although Blavatky did not have the benefit of Ferdinand de Sauure' tudie in emiology, baed on reading of Sankrit (which he herelf tudied of coure)- Sauure' note were not publihed until1916, three year after hi death- he thoroughly review the concept of the 'ymbolic', finding that: 442 Hull, Soiiibiit: A Grea!Rlmirmone:Poel, ~ Schloezer, Scriabin: Attit a11d Mytic, Ada Steinberg, Word and Muic in the Novel of Andrey Bely (Cambridge; New York: Cambridge Univerity Pre, 1982), Bartlett, Wagner & Rlmia, Steinberg, Word a11d Muic in the Not el of Andrey Bely, 134, Ibid., 230. Chapter Six :

247 Parabrahrn (the One Reality, the Abolute) i the field of Abolute Concioune, i.e. hat Eence which i out of all relation to conditioned exitence, and of which conciou exitence i a conditioned ymbol. 448 For Kriteva and Lacan, the ymbolic world i the Imaginary realm that we inhabit in order to repre the tate of abolute materiality into which we are born (Kriteva' chora). Artit, particularly the ymbolit of Ruia, convolute the iue of ymbology. Influenced both by the French movement and by Wagner, the Ruian Symbolit aw the ymbol a an unwerving path to the abolute. 449 But Blavatky doubtle conceived of the ymbolic world a Schopenhauer' 'veil of Mqya', to which he refer everal time. hi i more akin to Lacan' Imaginary; a philoopher' conception of the ymbol rather than a poet': a move mvqy from the abolute rather than a connection to it. 450 Blavatky further parallel Ferdinand de Sauure in her conideration of the dicrepancie between the word and the idea. 451 Intriguingly, he dicue the notion that, although the ign i ditinct to the thought, once invented, it become the thought and limit it. o Blavatky thi i deeply connected to the occult; the ignified and the ignifier are magically bonded. She quote Paul Chritian, author of he Hitory of Magic. o utter a Name i not only to define a Being (an Entity), but to place it under and condemn it through the emiion of the Word (Verbum), to the influence of one or more Occult potencie. hing are, for every one of u, that which it (the Word) make them while naming them. he Word (Verbum) or the peech of every man i, quite unconciouly to himelf, a BLESSING or a CURSE, thi i why our preent ignorance about the propertie or attribute of the IEA a well a about the attribute and propertie of MA IER, i often fatal to u. 452 he tragedy of irrevocable acceptance into language (which pollute the unconciou) and the conequent lo (or Lack) of he Real, i particularly Lacanian. Lacan' dictum- 'the unconciou i tructured like a language'- claim that, upon entry into the Symbolic Order, the ubconciou alo accept the tructure of language. hu, for Lacan, the unconciou doe not correpond to Kriteva' chora and i different to her indicernible collection of bodily drive. Kriteva mediate thi dijuncture by modelling the chora a an alway already preent force within our ubconciou; repreed but never lot, there i alway the poibility of return. Blavatky too bridge thi gap; quoting from the Bhagadvita he acknowledge two path. One path lead to the light of the un- the day, the Flame, the maculine \Vord- whilt the other lead to the lunar or atral light- feminine ilence. he firt path i a one way path, but the econd allow the ubject to be 'reborn'. he ditinction here i urely the difference between Lacan' lack and Kriteva' omni-preent cbora. hi become particularly apparent when -MH Blavatky, he S emt octrim:he Synthei of S cimce, &ligion and Philoopf?y, 15. _.... c 449 Sd: Iv:inov'-manyceay cin' tl-le-rolit'oftll~ 1-?'ti~rit bring{;;g'realiryto c~on;-cioune: i...;;n~".v:ei;ctedeap. 450 Maya wa originally a Hindu term, referring to life a an 'illuion' baed on phyical and mental limitation in which ubjectivity become entangled. Skryabin would have encountered thi in both lfl'ord a Will and Idea and Blavatky' Semi octrine. 451 Blavatky, he Semi octrine: he Syntlmi of Scienu, &ligion and Philoophy, Ibid., 93. Chapter Six 244

248 Blavatky ugget that thi flame ymbolie knowledge and language. 453 In acknowledging thee diverging path, there i confirmation of the omnipreence of the latter. In other place in Blavatky' macrocom and microcom comology, the ame pattern urface. She quote the Viibtadwaita Vedanti, an Xlth century exoteric ytem: "matter exit in two condition, the ukhma, or latent and undifferentiated, and the tbula or differentiated condition".~ 54 11u i a ditinctly Kritevan conceptwhere the cbora, although repreed, remain (unullied by language unlike Lacan' the Rea~ throughout the ubject' life and there i alway the poibility to return. For Skryabin (and the foundation of the Ruian Symbolit movement) there wa the poibility of a return to the Real, via the ymbol Vyaelav Ivanov' "a realibu ad realiord' ("from the real to the more real"). 455 Unlike Kriteva' return to the cbora- modelled on George Bataille -which occur through the hock force of 'horror' (compare with Skryabin' later encounter with the cadaver inacte Prialable), Skryabin viewed thi return a the endpoint of comic endeavour. After reaching a tate of phyical ectay, the oul would reunite with God, in eath. Hence Skryabin' formulation: 0. Nothingne- Beatitude 1. I deire (before chao) 2. I begin to dicriminate vaguely 3. I dicern; I begin to ditribute element (time and pace) and foreee the future of the uruvere 4. I acend to the ummit and experience onene 0. Beatitude- Nothingne 456 In contrat to the Kriteva-Bataille method of reaching pure, abject materiality- Kant' ing an icbthe Skryabin method i to achieve a tate of ectay. hi i alo found in Bataille- the exual orgam: Ia petite mort, the return to the pure materiality of light, colour, enation. 457 hi expand into Skryabin' Myterium with it olfactory and tactile dimenion. hu, in the programmatic apect of Ver Ia Flamme, the tranfiguration of the opening 'maternal' material into a decidedly maculine ymbol, ugget the idea of a ynthei of maternity and paternity. he ubject, moving from preternatural drive economie toward the luminecent world of the ymbol, return to it maternal root in the final ection, notwithtanding the very ultimate diolution into the maculine ymbolic world. Whilt a Freudian Oedipal relationhip could tretch our reading a little too far, the apect of the 'return to the 453 One find the ymbolic myth of Prometheu implicit in thi tatement, a figure which modern heoophit were extremely keen to adopt in their art work at the beginning of the 20th century. We naturally think of Skryabin and Jean elville, the Belgian painter, who not only deigned the cover to the Firt Edition of Skryabin' Fifth Symphony: PrometheiiS: Poem of Firr, but painted hi own verion of the Prometheu myth, deeply inpired by heoophy and by Anne Beant' hongbt-fonn in particular. Prometheu, the bringer of fire, merged with the figure of Lucifer, bringer of light, and found o. - ample"perotufication in heoophical writihg~ 4 54 Blavatky, he Semt octrine, Ivanov' real v. more real, correpond to Lacan' reality v the ReaL See \'Vet, Rlmimr Symbolim: A St11dy ofv)achelav Ivanov and the Ruian Symbolit Aethetic, Schloezer, SCiiabin: A1tit and Mytir, Bataille, Ervtirim, 49. Chapter Six 245

249 mother' i relatable to Blavatky' Secret octrine. he writer of the Book ojyzan tate "the on diociate, catter, to return into their mother' boom at the end of the great day, and re-become one with her". 458 But the ucceeding proce i equally revealing- the 'on' become 'cooled' in order to return to the mother, but in o doing they become 'radiant'. hi radiance correlate to the light of 'the father', thu affecting a union of the paternal and maternal. Precluding a traight interpretation of the 'return to the mother' a acquiecence with all propertie of the maternal realm, everything here i about fuion and dialectical ynthei. rive Analyi ii A complementary cro-diciplinary connection between Skryabin' piece and the evolutionary tructure it enhrine can again be extrapolated from drive analyi. hi work lend itelf to drive analyi particularly well. he early focu on an F~ triad and late tructural dicharge into A, ugget a fairly clear axi. he following tonal model operate in the background: mm.l-27 mm mm mm mm.ss-64 mm ff. hi model notably deviate from the rotational trategy of the other opue I have examined. Here, the function i expreed in pure triad throughout the opening meaure- F~, A and El1. hi i probably due to the evolutionary framework of the piece, which quickly etablihe a teleological and linear (deire baed) rather than cyclic (drive baed) motion. Skryabin offer a table goal in the very firt meaure, in yntactical contrat to untable (non-related) drive chord. In thi ene, if in no other, the work, depite it latene, i conventionally tonal. On a formal level, the initial expoitional ~ S~ motion appear to be a conceion to the onata principle that polarie and region. Now, through rotation around a~ S ~ epicycle, thi polarity i repreented ins and region; nonethele, the relative 'tructure' remain. hi continuity of tradition i urely urpriing for a piece which make uch a geture of polariing theme only very late in the tructure. However, the opening meaure etablih a local and drive ocillation; a micro to macro correpondence i conolidated. But functional S ~ ~ rotation come very much to the fore and, like the eamle recapitulation, ~ ;: thee functional hift are indifferent to thematic change, creating two incongruent line of trajectory: the thematic v the tonal. he region i poited in the firt full meaure of the piece and i preented 458 Blavatky, he Secret octrine: he Synthei of Stienre, Religion and Philoophy, 30. Chapter Six 246

250 authentically from the tart; dominant eventh-driven chord are interpolated by pure tonic triad. he S region in m. 27 i likewie fully authentic to a S function -a lyrical area of relative repoe- when the tenile chord dicharge into a tranquil major eventh chord. However thi i omething of a thematic hift - the -7 C# decending pattern come into force here, adding the flavour of the 'lyrical econd ubject'. A we will ee, other functional hift are far more ubtle. 2 7~~ii~~~~~~~~~~~~~~~~~~ ~~~~~~~~ FIGURE 6-15: VERS LA FLAMA1E'S SR.EGION, MM. 27 FF he return to the region in m. 33 i alo thematically parimoniou but tonally dijointed, the 'dominant eventh' flavour of the region being re-etablihed: FIGUJU:<: 6-16: VERS LA FLAMA1E'S JR.EGION -7 REGIONAL SHIH, Ml\1. 32 FF he central region (mm ) explore variou dicharge around a central line of drive on C (m. 47 ff). Again thi change arie purely harmonically and i thematically eamle '1. it.!,#~f ~... q~ Y ~ #r pp -...;;::.::;-- ::::,.. :::,.-.;:;:: ~-- -- ~- r - r, Cr 5 r - _r t_r r -r FIGUR.E 6-17: VERS LA FLAMA1E'S tlligion, MM. 46 l'f And future modulation occur in a likewie fa hion: eamle and often reulting from purely harmonic axial hift. he piece i notable for it 'authenticity' of tonal function; each func tion behave in it characteritic way. he and S region are poited a traditional oae of relative tability; the i the deire-laden region. It i triking that the piece cloe on the, though we mut remember that thi i not trictly true; drive ana!jwj fail to account for the guartal harmony that the piece diolve into. It Chapter Six 247

251 would eem that Skryabin' tonal meage i thi: depite the ' ear!j attraction to the, the can no longer ad a a repoitory for teiijion; deire cannot be laked, mere!j obfucated. But the diolution of tonal argument and it replacement by 'atonal' (quartal) ymbolim i teleological in itelf. hi work, depite it 'earch and return' of the function (ee Skryabin' later comment in Chapter 7), i linear, rather than cyclic. It ha a definite tonal goal. ijunction of Philoophy and Muic: A Way Out? However far one proceed with analyi of the work' ymbolim, a marked dijunction remain between Skryabin' philoophical model of evolution and hi muical dialogue. Again one i drawn back to the quetion of th e circle and the line. Skryabin wa famouly forced to modify hi own evolutionary doctrine due to the attraction of Blava tky' circular model of comic evolution Manvantara and Pralcrya. 459 Yet Ver Ia Flamme end with a total tranfiguration of the chora into pure drive-free ymboliation. hi contrat with the onata which generally return to a retatement o f their opening gambit in the final meaure -a cyclic proce. he ubtitution reult in teleological progreion. o undertand thi one need to follow Skryabin' inheritance of a different model of evolution baed on linear, though imilarly dialectical, progreion. o locate the ource of thi confuion, I explore another impetu to hi philoophy - the Hegelian dialectic. Hegel poited an evolutionary progreion that contained dialectic cycle that marched toward the Abolute- truth. Skryabin aborbed Hegel' dialectic omewhat elliptically through the filter of dialectical materialim. he following chapter will examine (a) Skryabin' adoption of the Hegelian dialectic and (b) it ublimation into the evolutionary tructure of hi work, a revealed in hi big Hegelian work - he Poem of Ecta.ry Schloezer, St1iabin: At1it and Mytic, 215. Chapter Six 248

252 Chapter Seven A Hegelian Model of eire and he Poem of Ectay People! Bloom forth, create, negate me and rie up againt me. I reutred all yo11 tetror rif the pat, all monter and frightful horrible tnion. I gitje you full flower. ry wallowing me up! Lay open your dragon' pature. S etpent! wine round me, trangle me, and bite. Everyone and everything eek my detruction and when you fall upon me, that i when I begin my plqy. I will conquer you ry lotjingyou. I will 11mnder and educe you. 460 Alexander S kryabin, on the S etjenth Sonata he Poem of Ectay: he ext and it ialectic Poeme Or;giaque began life in Beaten berg in the ummer of 1907 and wa completed the following year. Skryabin' 'fourth ymphony' wa originally planned a a tandard four-movement work in hi 1905 Italian notebook, but wa compreed into a ingle movement and renamed he Poem rif Ec.rta.ry. Skryabin' own poetry, though predating it muical counterpart, i deigned to ecort it. Whilt Skryabin decided that conductor hould be unaware of hi poetic endeavour, approaching the work a 'pure muic', he iued audience with a pamphlet containing hi text. 461 Weighed againt other pot piece in which, mot commentator agree, Skryabin emulated the development of concioune, critical repone to thi piece' narrative tructure are more guarded. he third Symphony- he ivine Poem- which Skryabin termed a "hort expoition of my doctrine", follow the fortune of the "I" theme through Struggle (the firt movement), Voluptuoune (the econd) and ivine Plqy (the third), in which "he pirit i now releaed from it former tie of ubmiion to a higher force." 462 Suppoedly dictated by Skryabin, a programme wa drafted by atiana de Schloezer: he ivine poem repreent the evolution of the human pirit which, freed from the legend and myterie of the pat which it ha urmounted and overthrown, pae through pantheim and achieve a joyful and exhilarating affirmation of it liberty and it unity with the univere. 463 Critic tirelely confirmed thi interpretation. Leonid Sabaneyev, one of the earliet, decribed the work a a "coloal biography of Scriabin' creative oul... a picture of hi comic plan." 464 he fifth ymphony, Prometheu, i alo aid to chart the 'dawn of human concioune', but commentarie on 4 &0 Bower, St7iabin: A Biography 2, Ibid., Ibid., Bernard Jakobon, 'Scriabin Symphonie 1,2,3, Le Poeme e L'extae, Promethee (C ), (2001), Bower, Saiabin: A Biograpi!J 1, 339. Chapter SeYen 249

253 he Poem qf Ecta.ry ' narrative uffer eriou impreciion. 465 he caualty i doubtle caued by the cham between poem and muic, which i not bridged a trongly a one would expect. I begin thi inquiry with the poem, which i unquetionably about creation. he influence of Fichte i palpably clear; a olipitic Spirit flie the earth, contructing it own world of form and feeling Only in it final throe, when the Spirit unite with the horror it created in an overtly exual orgam, can it come to ret and the Poem q[ecta.ry conclude. Notwithtanding the evident impact of Fichte, a well a Nietzche and Schopenhauer, the poem' tructure call for Hegelian inquiry. he Spirit (Hegel' Geit?), create "on the ummit of negation", but remain dicontented with it product and conceive new and novel experience (a in Schopenhauer' philoophy). ALAS! I HAS AAINE IS PURPOSE. It long for pat truggle. Intantly it feel Boredom, melancholy and emptine. No diturbing rhythm Overhadow hee, No dreadful phantom Haunt. Only monotony' infecting poion, he maggot of atiety c li ~67 evour 1ee ng he bored pirit create 'negative' image in an attempt to annihilate itelf But Suddenly... rembling preentiment Of dark rhythm Break rudely into hi enchanted world With light... Of divine Will It dipel Frightening phantom. Skryabin' profue reference to Hegelian negation become garihly over-explicit: 416 See Hull, S criabin: A Great Ruian one-poet, ; Roa Newmarch, he Concerl-Goer' Library of ecriptive Note Vol. 2 (Humphrey Milford: London, 1928), M he mot olipitic of the German Idealit, Fichte acribed the highet level of creative ubjectivity to the individual. 467 Alexander Scriabin, 'Poem of Ectay' and 'Protmtheu: Poer11 of Fire' in F11/l Srore (New York: over Publication, Inc., 1995). 250 Chapter ScYen

254 Strike againt me, Negate your love! Your moment each by each I create by negation Of earlier experience. I am forever negation. hee terrifying encounter intenify, From myteriou womb he pirit confued A fearle hot Of trange terror Rie Stormily... Yawning cavern Of monter mouth Flah menacingly In conquering uch obtruction (a Nietzchean 'overcoming'?) 468 the Spirit attain more durable atifaction. But it i not until the final 'ectay' that an overtly erotic blend of pain and pleaure herald a highly effective, if omewhat adomaochitic, ynthei. hen I will plunge With a horde of fearome monter With avage torment and terror I will crawl upon you with verminou net of nake And I will bite and choke you! And you will want me More madly, more paionately... hat which menaced I now eduction. hat which frightened I now pleaure. And the bite of the panther and hyena Are new caree And the erpent' ting I but a burning ki. And thu the univere reound With joyful cry JAM! _oepite the coloal fuion of philoophical ideaf the' poem' tructure-i:fairly'baic-however,-it muical counterpart i a more botherome parcel to unwrap. Skryabin compoed the muic with a 468 Mitchell Bryan!\[orri examine thi train of Nietzchean philoophy in Skryabin' ideology.!'vi orri, Muiml Eroticim and!be mn,.endent Strain: be Work of Alexa11der Sk1J'abin, Chapter Se, cn

255 certain detachment from the poem and wa famouly delighted when he retropectively glanced through the core and dicovered imilaritie. Schloezer note, "Scriabin and I worked together comparing text and muic. I remember the pleaure and urprie he felt when the muic wa fully free yet followed the development of the text..." 469 Yet depite the refrain-like moment of negation in the text when the Spirit conjure up image of horror, the ymphony contain no uch 'terror'. Such dijunction between the two medium will be explored through thi chapter. Firtly, however, I wih to invetigate Skryabin' aborption of Hegelian philoophy, recalling too that, writing in the 21" century, we benefit from modern writing on deire that are baed on Hegelian logic. One point of entry of Hegel into muicology wa via the Germanic tradition of Adorno and ahlhau. But variou le well-known Ruian trand of thi Hegelian thread are in abundance. Bori Aafiev i noted for hi view of 'form a proce'.~ 70 In thi regard, the Ruian word for 'tructure'- tro_yeniealo implie an unending proce a Khannanov how.m And thu Ruian dicuion of 'form' and 'tructure' betray an element of mobility. hi tradition wa alo found in the work of analyt Igor Spoobin who imilarly baed hi work on Gregory Catoire' 1934 adoption of Riemannian functional theory. But for Skryabin, a more holitic approach wa intended; he decribe the tonal progreion through variou tate, outlining the decent from pirit into matter. here i a contant progreion from piritual key -which ymbolie the primary, piritual, undifferentiated being and the tate preceding the act of creation- toward materia/key, which repreent the impre of pirit onto matter. 472 Skryabin here decribe Prometheu, but imilar procedure pertain to the earlier Poem ofectary. Skryabin' New irection: Aborption of Hegel hrough a ialectical Materialit Filter \Ve generally ubordinate Skryabin' philoophical univere to the comological 'hocu pocu' of Blavatkian heoophy, inwardly refracted through a olipitic len. hi mipriion doubtle reflect our own thirt for the bizarre, and we mut not neglect the 'highbrow' philoopher that Skryabin took to heart, nor mut we dicount Blavatky' own virtuoity in appropriating thee ource into he Secret octrine. epite Blavatky' public vilification,m the Secret octn"nc i till a work of unparalleled eclecticim, in which Hegelian philoophy i lovingly nurtured. Blavatky' verion of Hegel would be 469 Bower, Scriabin: A Biography 2, he Germanic equivalent of thi view wa adopted by Adorno and ahlhau, examined in Janet SchJl1alfeldt, 'Form a. ~- the-proce of Becoming: lle~beedi.oven=i-iegelian-i.-idiiiofi at1d 'e-ffipet' Sonata,-, BfCIJJOVen Foru~ -4 (1995), Khannanov, Ruian Methodology ofl\1uim/ Fo1m and Anajyi, «Y MeHII am XOA BCe apemh O OHaAbHOCdi Oy:XOBHbiX, KOOpbie COOBeCBYJO nepbii'ihomy AyxOBHOMY Hepa3AeAeHHOMY 6biHIO, COCOIIHIIIO AOBOp'leCKOI1 Hepa3,\eAeHHOCII, K OHaAbHOCIIM MaepllaAbHbiM, KOOpbie coobecbyjo oie'!aaehhio A)'Xa Ha MaepHH.» Sabaneyev, Vopominaniya 0 Skryabine, After variou expoure of Blavatky' deception in the American pre, he fled from New York to India in Chapter Sc,-cn

256 another ource for Skryabin. Notwithtanding the more conpicuou Schopenhauerian influence upon the late 19'h century aethetic of deire, modern pychoanalytic deire theorie tem from the ame ource a Skryabin- Hegel' Phenomenology ofthe Spirit. Hegel' Phenomenology regiter the emergence of elf-concioune and, confuing though hi terminology i, mut have tirred the compoer deeply. It i tricky to iolate Skryabin' dicovery of Hegel; one cannot pinpoint a particular date a with the Schopenhauer or Fichte breakthrough. 474 Although Hegel fronted the Ge7JJan Idealit movement that bled into Rlt.rian 5_ymbolim through Navali, he wa influential le to the artitically minded than the politically orientated 'Young Hegelian'. he 'Silver age' incorporated Neo-Kantian, Nietzchean, Schopenhauerian (popularied through Wagner), and Fichtean. Skryabin, in thi ene, wa an anomaly. Given hi intimate friendhip with Georgy Plekhanov- coiner of the phrae 'dialectical materialim', Lenin' 'right-hand man' and "he Father of Ruian Marxim" -it would have been difficult to pend the long ummer evening in Bogliaco in 1905 furiouly arguing politic without receiving a Hegelian education. 475 Plekhanov had publihed a hort pamphlet on he Meaning q[hegel (1891), containing idea that would certainly ftlter into their extenive dicuion. Under the peudonym of Beltov he alo preented an incribed copy of he evelopment of a Monit view of Hitory to Skryabin, which the compoer owned until hi death. 476 Whilt Skryabin remained profoundly mytical, he greatly repected Plekhanov' idea and claimed to link hi creativity to the revolution. 477 enounced a a 'mytic' who believed firmly in Fichtean 'mind over matter', Skryabin alo held allegiance to Ludwig Feuerbach, Hegel, and Marx eta/ and found himelf at the meeting point of Hegel' two 'off hoot', the 'idealit' and the 'materialit'. Hegel probably uffered rejection from uch highly eroticied Ruian Romantic becaue he betray, in Plekhanov' word, "no myticim of the 'Unknown' whatever." 478 Whilt thi wa relihed by Plekhanov, it wa doubtle lamented by Ruian Symbolim. Plekhanov further diapproved of Skryabin' Idealim: "he mot bewitching ideal can be contructed; with it [Idealim'] help, the boldet journey "into a better world" can be undertaken without bothering for a moment about realizing thee "ideal" in reality. What could be better? "Ideally," one can, for intance, abolih entirely the exitence of clae, eliminate exploitation of one cla by another, and yet in reality come forward ;,.,_ 474 Skryabin read World a IF'ill and Idea in 1893 at the ame time a he dicovered Ernet Renan, probably at the home of Vladimir anayev, the alcoholic brother of the compoer Sergey anayev, in whoe library Skryabin eem to have made himelf particularly at home. 475 Profeor Samuel Baron' Englih-Biography of Plekhanov refer td him in thee term, a hown by Bower in Scriabin: A Biography 2, George Plekhanov, 'he Meaning of Hegel', Fomth Intemationa/10/ April and May (1949). / archive/ plekhanov / 1891/11 /hegel-dun.htm. Plekhanov wrote under the peudonym of Beltov. 477 Bower, Soiabin: A Biography 2, 93. m Plekhanov, 'he Meaning of Hegel'. Chapter Se,-cn 253

257 a a defender of the cla tate, and the like." 479 Plekhanov' ytem wa baed on the Hegelian dialectic, now placed in a 'material' framework. A Marx put it, "o Hegel, the life proce of the human brain, i.e., the proce of thinking, which, under the name of the Idea, he even tranform into an independent ubject, i the demiurgo of the real world, and the real world i only the external, phenomenal form of 'the Idea.' With me, on the contrary, the ideal i nothing ele than the material world reflected by the human mind, and tranlated into form of thought." 480 Plekhanov claim to have appropriated dialectic for modern materialim by removing all trace of myticim from the German Idealit. Naturally Skryabin would have diapproved. Schloezer, a profeor of philoophy, aert that Skryabin undertood dialectical argument with utmot clarity; he wa an "adroit dialectician". 481 But the aborption of the dialectic wa inconitent acro the Ruian intelligentia. Unlike the rigorou 'Young Hegelian', the mytical Ruian Symbolit poet eem to reduce the dialectic to an elementary tructure of theji I antithei I.ryntbei. Skryabin' ready guide to Wetern philoophy wa Friedrich Oberweg' Hitory rfphiloopf?y, which unpack Fichte' theorie via thi crude model, a Morri ugget. 482 Ivanov' famou peech in 1910, preaching the end of Ruian ymbolim, highlighted thi, in which he ue thee term tricdy.m Ivanov doe conceive of the.rynthei a a 'new implicity', howing ome Hegelian inight, but nonethele, there wa a ditinct reduction of the dialectical method amongt the artitic ide of Ruian life. Plekhanov thoroughly diapproved, peaking of thi miperceived 'triad': "it doe not at all play in Hegel' work the part which i attributed to it by people who have not the leat idea of the philoophy of that thinker." 484 he dialectic i not an oration technique; it i Hegel' evolutionary drama, and thi i the major contact point for the more eclectically influenced Skryabin. 479 Ibid. 4 8 Karl Marx, Capital (London :Lawrence & Wihart, , 1977), Schloezer, Scriabin: Attit and lv!jtic, Morri, lvfltical Eroticim a11d the rmtst"mdmt Strain: he Work of Alexander S kryabin, , he thrut of which i given by Avril Pyman. Pyman, A Hitory of &mian Symbolim, P Georgy Valentinovich Plekhanov, Frmda!llmtal Problem of Marxi111 (London: Lawrence & Wihart, 1969), Chapter Sc, cn 254

258 analyi ynthei thei a centripetal paive alway multiplicity from multiplicity to unity + anti-thei centrifugal active b + thee diappear in b FIGURE 7-1: SKRYABIN'S IALECICAL MOEL OF ECSASY Skryabin ometime laid out hi idea in graphical format, howing a much clearer acceptance of Hegel' philoophy than hi artitic contemporarie. Some of thee diagram diplay decidedly dialectical model. In figure 7-1, negativity i claed a a centrifugal force, puhing away from the centre, a maculine, progreive element. Skryabin decribe thi difference: "I myelf am that which i oppoite to me, becaue I am only that which I engender... he world i an impule toward God. I am an impule toward myelf'. 485 he ynthetic tage lie beyond thee, and, with the other two line, lead toward ectay.~ 86 hi probably derive from Schelling' ektai, which wa an acce point to the Abolute. 487 Although N ovali reproached Fichte for not making ectay the bai of hi philoophical ytem, Fichte did ee the union of the 'I' and 'Not-I' a exual, and he too wa a great influence of the impreionable Skryabin. 488 And ectay for Skryabin i alo "the highet ynthei... the highet development... Generally, ectay i the ummit, the lat moment which comprehend the whole hitory of humanity." 489 Skryabin' model of Abolute Unity how a imilar dialectic pattern Martin Cooper, 'Scriabin' Mytical Belief', Mmic & Letter 16/2 (1935). : ~il!6.,bower; Scn.abin:-A-Biogi"(Jpi!Jc2,~67:,_.- -'~-',_ _ "\ndrew Bowie, Schelling and Modem E11ropean Philoopi!J: An Introduction (London: Routledge, 1993), 134. Like Lacan, Schelling aw the Abolute a form of the lot Real, F riedrichmeyer, he Andro!!J ne in Early Gennan Romantitim: Friedrich Schlegel, Nova/i and the Metapf!Jic of Love, From Skryabin' 1908 notebook; Garcia, Alexander Skryabin and RJISian Symbolim: Plot and Sj JJJbol in the Late Piano Sonata. Chapter Sc, en 255

259 ABSOLUE UNII NON-FIE!NG BEING Inertia Center Striving toward the center Peace Sleep Will to live, deire to live, deire for the new, the other, ENERGY From the center Striving away from the ccner Moment i\civi'iy Vigilance ifferentiation Non-ditinguihing Gravity Contancy itinguihing FIGURE 7-2: SKRYABIN'S MOEL OF ABSOLUE UNIY Plekhanov attributed tremendou importance to Hegel for etablihing a dicoure of procee (e Werden). Life and death are link in the great chain of 'becoming': And in the proce of becoming there are two ide: birth and dying out. hee two ide can be looked upon a eparated in time. But jut a in nature, o epecially in hitory, the proce of becoming i, at each given period, a twofold proce: the old i dying out and from it ruin imultaneouly the new i being born. 490 Skryabin' own diarie reveal an acceptance of thi doctrine, "irect experience doe not preent a dead content, but a conjunction or erie of procee. It i not ~ompoed of object but of procee." 491 Plekhanov thoroughly diapproved of arwinian evolutionary account: "... the vulgar theory of evolution... i baed completely on the principle that neither Nature nor hitory proceed in leap and that all change in the world take place by degree. Hegel had already hown that, undertood in uch a way, the doctrine of development wa unound and ridiculou."m Skryabin wa almot certainly ubjected to lecture on thi model from Plekhanov, and thi doubde intenified the miama of hi maculine / feminine comogentic evolutionary model. he dialectical materialit believed in creation through dialectical negation, tructured by 'leap'. Oppoitional force at every level of nature contained charge of energy that built up enough tenion to generate udden burt. Such i the birth of human concioune; the unconciou ubject gain enough dialectical energy to break out into a conciou tate. hi energetic flqw: i pertinent to the text under dicuion. he Poem ~!Ectay itelf 4 9 Plekhanov, 'he Meaning of Hegel'. 491 Bower, Scriabi11: A Biography 2, Plekhanov, Fu11damental Problem ofi\1atxim, 45. Chapter Se,-cn 256

260 approache elf-concioune through the negating tendencie of the poem' tructure. A the elfgenerated polariation intenifie, the Spirit become elf-conciou; it undertand it own deiring mechanim. he third peron narrative ha already decribed 'drive' tructure in their aimle, libidinal flux. Although the word 'deire' i ued ("Spirit eiring"), thi i redefined a "thirt for life" and it aimlene i expoed a a drive economy in the following phrae: "unmindful of goal", "endle change", "purpoele, godlike flight", and "pure aimlene". But the Spirit now undertand it own libidinal current; It [pirit] know that Which deired truggle It deired only, And event Aembled round hi wih In harmoniou order. Reference to the 'aemblage' of deire i a particularly eleuzian concept, howing an acknowledgement that the object of deire are mirecognition of the drive energy beneath them. 493 And the Spirit comprehend thi itelf; it become it own pychoanalyt. Spirit lift into flight o the kingdom of grief and uffering And in it return o the world of dream and of excitement It comprehended miraculouly he idea of evil' Myteriou abye. he ame i hown in Skryabin' original plan for the ymphony that had ection entitled, "knowledge o f arm. 1 ene, purpoe 1 ene " an d " conc10une. o f t h e wor ld a appearance. " 494 he dialectical model of evolution correpond to our Blavatkian/Kritevan (feminine) paradigm, a each of thee leap i caued by accumulating internal energy. Skryabin appreciate thi, the whole cene occurring within the olipitic mind: "here, under the ray of it dream, Emerge a magical world". Alo particular to the dialectical materialit model i that the accruing tenion affect a tranformation of quantity (multiplicity) into quality. Again thi originate in Hegel and filter into Skryabin' ideology: 493 For eleuze, deire, a driven by the machinery of the unconciou, i not propelled by the need for an object; rather, it aim to create an aemblage (agmcement) compried of the procee of it own production. See Anti-Oedipu, Chapter one: he ei1ing-macbine, Bower, S oiabin: A Biograpl!J 2, Chapter ScYcn

261 Hegel aid that quantity, growing indefinitely, trancend into quality. Scriabin frequently quoted thi dictum during our dicuion on philoophical ubject to vindicate hi theory of 'catatrophim'. It wa for him not only a theoretical potulate, but a manifetation of inner experience. He felt in hi own being how thi tremendou tenion continued to increae until it uddenly brought forth a new tate qualitatively different from the preceding. Projecting hi inner experience outwardly, he peculated that the entire hitory of the world alo obeyed thi evolutionary proce of gradual accumulation and growth, that upon reaching a degree of aturation, mut tenninate in a world catatrophe, leading in turn to a new evolution, a new increae in tenion, and a new crii. Scriabin aociated thi philoophy of life with the pecific tructure of hi individual work, which to him repreented a erie of gradual expanion, ytematically and logically evolving in the direction of a final ectay. Indeed all Scriabin' work, beginning with the hird Piano Sonata and ending with the enth Piano Sonata are built according to a uniform ucceion of tate -languor, longing, impetuou triving, dance, ectay, and tranfiguration. hi outline i baically imple; it i built on a erie of upwing, with each ucceive wave riing higher and higher toward a final effort, liberation and 495 ectay. Kriteva cat thi dialectical materialit formula in the light of Hegelian negativity. By dicuing the production of ymbol through leap, again linking comological evolution and ego formation like Blavatky, he bring u back to emiotic. Furthermore a materialit reading of Hegel allow u to think of thi negativity a a tranubjective, tran-ideal and tran-ymbolic movement found in the eparation of matter, one of the precondition of ymbolicity, which generate the ymbol a if through a leap- but never merge with it or it uppoed homologue. 496 She alo formulate deire from thi movement, claiming, "eire i the moment that leap over the boundarie of the pleaure principle."m hu the dialectical materialit model of progre via negation, through Kriteva, correlate to the drive / deire trajectory. In thi emiotic vein, Blavatky alo aw pure force and motion flowing into the ymbolic realm: "it i motion which beget the Logo, the \'V ord in Occultim." Blavatky alo draw on Hegel' 'intinct': he hitory of the world begin with thi general aim," ay Hegel; "the realization of the Idea of Spirit- only in an implicit form (an ich), that i a nature; a hidden, mot profoundly hidden unconciou intinct, and the whole proce of hitory... i directed to making an.. I. 49H unconciou unpu e a conc1ou one. And Kriteva alo locate Hegel' notion of Force at the centre of the thora. She ugget that when Hegel i at hi mot material he come "cloet to what we have called a emiotic cbora (energy dicharge and their functioning)- in other word when it appear a Force." 499 itinguihing between negativi!j and negation, Kriteva accept Lenin' categoriation of negativiry a the 'fourth term of 49 5 Schloezer, Smabin: Attit and Mytic, Kriteva, Revolution in Poetic Lang11age, Ibid., Helena Petrovna Blavatky, he Secret odn.ne: he Synthei of Scimce, Religion and Philooph]', Kriteva, Revol11tion in Poetic Lang11age, 114. Chapter Sc\-cn 258

262 the dialectic'. 500 o her, mgativity focue on the becoming of the negation, the tranition, or a Lenin put it, the emergence. hi i redolent of the dialectical materialit ideology that Skryabin wa o teeped in. Furthermore Kriteva equate 'negativity' with Hegel' concept of 'Force', 501 drawing u back into Freud' theory of the drive. On the reappraial of 'negativity', he ay, "What made it material overturning poible, in our view, wa the key notion of drive in Freudian theory." 502 She prefer to ue the concept of dion, expenditure, eparation, diviion and rejection a the defining moment of egoformation.503 Particularly in the latter, where a baby begin to ro/ect it wate product and thu form a ditinction between inner and outer, Kriteva claim that, on the border of the chora, "Freud place the. drive of rejection." 504 he notion of Hegel' negativity therefore found it fullet repreentation in Freud' ro/ection. In addition, Kriteva helpfully dicriminate between the two pole that Skryabin wa caught between- the 'materialit notion of force' and the 'idealit notion of force' -the former i the emiotic functioning of matter in ite(f, and the latter i found when "the reality of force i ultimately the thought of it." 505 hu I turn for the final time to Skryabin' muic where evolutionary cheme become dialectical. But unlike the materialit 'Young Hegelian', Skryabin' Idealit philoophy returned the Geit to Hegel. If Ver Ia Flamme howed how voraciou muical drive can evolve organically and eamlely, the Poem rif Ecta.ry demontrate how 'dialectical leap' more frequently tructure their progre toward a focu of deire. Negative hematic Evolution: heme and the 'Struggle for Recognition' In the Phenomenology, Hegel decribe the pre-conciou life of the abolute ubject a a 'tate of nature', a tate of war and conflict. In Lecture 011 Aethetic the Homeric heroe epitomize thi condition; paive and un-elf-reflective, they act involuntarily, obeying only the imperative of their primordial drive. hi pre-ocial, pre-legal, pre-conciou poition i unutainable and i channelled through a 'truggle for recognition'- a truggle for ocial determination. 506 \'\hat mack of Skryabin in my reading of Hegel i the view of thi preternatural tillne a a place of conflict. o Skryabin, every impule i born from polarity; after dicuing how "an impule diturb celetial harmony", he conclude, "How beautiful the vitality of your apiration, and how wrong you are if you wih to detroy the oppoition w h. 1c 1 gave t1em 1 b. Irt h." 507 "" 5 1)( 1 Ibid., Ibid., lbid., Ibid., Ibid., Ibid., 115. SO< ony Burn, he Iliad and the 'Stmggle for Rerognition' in I-legel'.r Pbettommolog;y qf Spilit (Univerity of Nottingham). 5 7 Bower, Scn.abin: A Biograpi!J 2, 62. Chapter Se,-en 259

263 he Poem rifecta.ry ha upplied a fomm for lurid interpretation in pat criticim, often taking the form of leitmotiv analyi. Correponding to the Seventh onata, uch leitmotiv are catalogued by Bower: decending half-tep apparently repreent "human orrow"; riing and falling whole-tone tep embody the "breathing in and out of Brahma"; the ighing minor ninth correpond to the "decent of pirit into matter". 508 More informative obriquet were applied by Hull, including: the "Ego theme gradually realiing itelf"; "human triving after the ideal" (the opening melody); "oaring flight of the pirit" (Allegro volando); "will to rie up" (the famou trumpet theme). SO'J hee cliche congregate around each of Skryabin' materwork, but they at leat demontrate that commentator believe the thematic tmcture to be a developing 'ego', a becoming u'?fect. Hull' word 'ego', doubtle inpired by Englih tranlation of the Freudian 'Ich' or Skryabin' oft-mentioned ''Y a" (imply "I"), appeal to the emerging, contemporary dicipline of pychoanalyi. Here we remember ome of Leonid Sabaneyev' earliet memorie about Skryabin: "he [Skryabin] wa writing a 'philoophical ymphony' in which the ound embodied the development of the world-oul, which come into 'elf-affirmation." 510 Jame Baker convincingly urvey the Poem rifecta.ry' thematic tmcture. 511 Following the Liztian tranformation of what he term "heme ", he lead u through each preentation in turn. Unfortunately, depite Baker' analytical inight he retreat to mytical cliche: "he reult in the muic i a enuouly undulating form which project the erotic apect of the oul' triving for union with the ivine Principle." 512 f- dolce FIGURE 7-3: POEM OF ECSASY, "I-IEME " j r, , ut_) }I dim. ==-PP Baker' thematic taxonomy lit even intance of the theme. Unlike the thematic tranformational procedure of Berlioz and Lizt, thi invetigation undercore imple alteration through procedure of extenion and addition. 513 Monitoring the proceion of theme, he ignore their innate tenion, their conequence and implication. epite it failing however, hi analyi i at leat mindful of 508 Bower, be NewS criabin: Enigma and Anwer, Hull, Scriabin: A Great Rlmimz one-poet, SIO «0H HaIJH-IC:L\ <«tliiaococpch)'io C11Mcp0HIIIO»... II '-IO B eoil C11McpOHHI-I3ByKaMII 11306p;t)KaeCJI pa3bhi1e MHpOBOrO ::- Ayxa, K_QOpb111 nphxoah K KaKoMy-o «camoybep)i(aehho>):)) Sabaneycv, VoipiWiinaiii)'a o-jeyyablne, \X!hilt Baker' mot rigorou analyi i found in he M11ic ofa/exmzder Scriabin ( ), hi article Scriabin ' M11Sit: Stmcftm a Prim for Mytical Pbiloopby, contain a more generally acceible ynopi. Baker, Beach and Bernard, M11ic beory in Concept and Practice. 512 Ibid., Ibid., Chapter Se,-cn

264 Skryabin' careful thematic development. hi contrat with Mitchell Bryan Morri' weak aertion that "\Vhat i not preent i any poibility of a theme acquiring a ene of genuine evolutionary potential; they change le by development than by fragmentation and juxtapoition." 514 he framework for Baker' analyi i a dialogue of attempt v. failure: a triving voice. Skryabin' heavily revied autograph how numerou alteration to the trumpet part, highlighting it meticulou arrangement. At one juncture Skryabin penned, "Why, whither are you triving oh rebelliou pirit?" above the trumpet tave. 515 An exploration of heme ' arrival will anwer Skryabin' quetion, leading to the concluion that, like the human pirit, the anwer i Hegel' 'recognition'. I now examine the muic. he axi of melodic ymmetry- the pitch B- tructure the opening flute melody, it outer boundarie marked a # and G with chromatic inflection injecting a leading-note driveback to B. 516 fl. 3 &i r rj #] nj f tr f llr I FIGURE 7-4: POEM OF ECSASY, MM. 2-5 :1 ~~ After an exact t5 tranpoition in m. 6, a modified t1 0 tranpoition on AI> appear in the piccolo in m. 11. Here the axi i raied when the Ail enharmonically hift to a G#, riing to Aq, intenifying the melodic drive toward chromatic acent.,~( r f r 1#r f r r L 3 j 3 ~ _ p dolce epre. crec. ~v- b- If FIGURE 7-5. POEM OF ECSASY, MM At thi point the accented trumpet tender an antithetical force with dotted rhythm, and a IV~ V ~ I melodic pattern (B ~ C# ~ F#) encircle the reulting pitch - a maculine tonal force? pcrec. ~IE r c ~ E dim. pp FIGURE 7-6: POEM OF ECSASY, MM ,_;:. 514 Morri, Muical Eroticim and the ranjcendmt Strain: he Work of Alexander Skryabin, , 287. SIS Bower, Scriabin: A Biograply 2, 189. tc, Meyer, E>.plaining lvf.uic: Eay and E>.plomtion, 183. An axial melody i one, typically Ruian, in which a ingle pitch act a an axi around which all other pitche deviate from and return to. 261 Chapter Se\'en

265 he ubequent clarinet melody yntheie thee element, compriing a riing fifth (A -7 E) and paing through a chromatically accented -7 A- an ingeniou aimilation of motive-~ and Q. P ~ J r I~ f ~~~ If dolce epre. 3 FIGURE 7-7: POEM OF ECSASY, MM Similar to the initial melodic fragment, thi phrae return to it initiatory pitch, now with a regitral tranfer. Alfred Swan' Romantic thematic label- 'yearning'- may reult from the 'chromatic' and 'fifth/ tritone' drive which move ympathetically toward the upper teitura; the theme i tranpoed and varied in acending regiter in the ucceeding paage. 517 he Allegro volando harbour the ame dichotomou interval - fifth and chromatic -which unite in an effort to reach a higher regiter, outlining 5, and melodic element with chromatic appoggiatura: A -7-7 A -7 G -7. Amid thi, the outline of a triad make itelf known; a trong, deiring, maculine ubject travere a thematic topography of B~ to an upper - the widet thematic range thu far. he lower flute- the ymmetrical theme from the opening- now exclude the lower extremity. Everything rie. fl, , I tj P r fl L 3 j p,-3--, FIGURE 7-8: POEM OF ECSASY, MM Even an inverted motive-~ occaionally acend, increaing tenion in the proce. In the following example, uch an inverion in the oboe bleed into the trumpet theme, continuing the pitch B. A negating 'leap' poit a new timbre: the famou trumpet. Henceforth the trumpet become the dipoitif of the tenion I have decribed. Oboe ffp crec. ~====== f rumpet fdolce _._ FIGURE 7-9: POEM OF ECSASY, Ml\L "" wo individual theme, hypotatied by muicologit, thu form a ingle amorphou ma of primeval thematic matter. Compriing a gently acending trajectory and three characteritic interval: tritone, 517 Swan, Scriabin, 95. Chapter Se, cn 262

266 fifth and emitone, they hape themelve through negation. ramatied through orchetral fragmentation, thee motivic element crytallie around the trumpet a 'theme ' materialize. hi trumpet theme i anything but novel. arukin decribe how Skryabin cat "the olo trumpet a a Nietzchean protagonit to the point where ymphony become a virtual concerto" 518, but thi 'theme' i merely the formalied product of malleable drive element. Acending and decending tendencie eparate out, particularly in the avec une noble et douce mqjete at m. 103 when equential anacrutic fourth rie excluively, and chromatic decent are compartmentalied into two meaure ection. ',J f ,a~ ra 1 J luj qj,a, )I J J J R) I J L J ~J 1 I F ~r nt_. J Jl dolce.,_,...=... r-a--, ~ r r p J J ul I(? "" """"' IF ''F F I F "l~r ''V L...a-.~ FIGURE 7-10: POEM OF ECSASY, MM dim.==-pp Baker' analyi of 'heme ' begin here. Becaue thi theme pilot u to the grand finale, we accord with the prominence Baker betow upon it. Yet it i merely a dialectically evolved fayade- the dipoitif - of the raging, conflicting tenion beneath. More than the ingle 'ego' theme that Hull found, thi theme become repreentative of the pychoanalytic ego that i ocially haped and embed the conflict of the ociety that called it into being. he truggle for recognition i complete; a new truggle now emerge. Struggle for a Social, Stable Whole: he Unrolling of a Rugged, iatonic Epilogue For Hegel, the proce of accepting an ethical ocial order i welcomed: "the leaving of the 'tate of nature' and entering into 'ociety' may be een a a move from a condition of conflict and war to one of peace and ocial order... " 519 eire-gratification, for Hegel, make one a lave; freedom i excluive to ocially balanced ethic in the guie of 'the law'. 520 Society i thu the ource of unity, balance and freedom. ony Burn undercore thi, "Hegel tate explicitly there that the truggle for recognition can occur only in 'the natural tate' where 'men exit only a ingle, eparate individual', and not in ociety, the organizational principle of which, a we have een, i not conflict but ocial harmony baed on an ethical conenu around hared value." 521 hu, once recognition i achieved, the truggle ceae and a new truggle for acceptance into ociety begin. wo internal melodic procee - ==~~-----=~------~-- 5tH arukin, 'Scriabin and the Superhuman: A ivlillennial Eay', Burn, he Iliad and the 'Stmggle for Recognition' in Hegel' Phenomenology of Spi1it ( /wptos/ - acceed June 2005). 520 Ibid. 521 Ibid. Chapter ScYcn 263

267 complement thi ocialiation: (1) the eradication of the untable chromatic element and (2) a broader melodic earch for tonal tability. (1) he Eradication of the Untable Chromatic Element Upon dicovering it voice, heme play out internal dialogue between the antiphonal element that haped it. he following manifetation of heme from the Allegro attempt to uppre it volatile chromaticim through four ucceive preentation. 4rt 4'? 1 mp dolce '"!! mp 4 con ord. ~ ~ )l~r r.. JI~F r ~~~r II II - l z~) I c_ 1, mp f, ll.._,...- ~p 'U l l j r,,; I''F? r I._ F' p "<., FIGURE 7-11: POEM OF ECSASY,!VIM ~v I r he interaction of chromaticim with 'other' element (uch a whole-tone) may help to clarify Morri' awkward diagnoi that, "the majority of theme repeated frequently in Le Poeme de l'extae are built out of chromatically inflected egment of the whole tone cale." 522 Only the initial tatement uffer chromatic decent; the econd plateau on a lofty AP- the mot utained tone o far. he following phrae peak at a curt FP and contain no chromatic depite the mall decent that creep into the orchetra. Subequently, an abrupt quaver EP-7 geture uppree chromaticim further. A fourth and final preentation pinnacle on an AP- the upper octave of the initiatory pitch- before reaching a econd plateau of CP. hi trong acent i redoubled a the bray ound of the triplet rhythm interrupt atm. 207 (rehearal fig.10). But, a uual, when a drive i at it peak, an oppoing tendency undercut it. he ucceeding paage challenge the ecurity of the trumpet, reponding with the decending eventh of the trombone' ragico. hi i the thematic nadir of the work, a paage of utter diintegration. FIGURE 7-12: POEM OF ECSASY, i'vlm Morri, Muiml Emtitim and the ranmmden/ Strain: r;e Work of Alexander S kryabin, , Chapter Sc, cn 264

268 Approaching the development, the theme recontitute itelf from thee negated fragment: the melody extend itelf through ucceive preentation; the chromatic decent eep into the crack between phrae but each plateau i more utained than the lat; at mm. 277 (rehearal fig. 17), a oaring 'A' pervade for four meaure before the chromatic decent inflect it. And fat-forwarding to the final cataclymic cadence, the trumpet i the guiding force. It i urely no coincidence that it leap to it climax whilt mot of the orchetra chromatically reolve. ~~~~. " I" I" I" p crec. molto ffcrec. fff II FIGURE 7-13: POEM OF ECSASY, MM But prior to thi, chromaticim become thematically ignificant to the orchetral accompaniment a the trumpet effectively cat it chromatic voice into the orchetra, leaving itelf purged; it project it tenion back onto the orchetra that called it forth, thu 'othering itelf- a form of negation. In the final weep, chromatic decent in the flute outweigh the trumpet' fifth. At fig. 30 a typical preentation of heme i replete with riing fourth and chromatic decent, but the voluptuou charmc ection intermpt the flow atm. 477 (rehearal fig. 31). Flute Charme tr tr tr ' f Wl rr!fl [ "ul~v ' I p-== 3==--==.'l ::::=- -== ~ FIGURE 7-14: POEM OF ECSASY, MM hi ection i poignantly labelled 'charming', but ha a more profound function than to charm u. 5 : 3 Paionate chromatic 'third' flute decent, combined with trill, play on the feminine, eductive element. hi emboldened force of negation force the tmmpet to re-evaluate itelf. Again the charmc appear atm. 507 (rehearal fig.34) at the dawn of the avec unc voluptc de plu en plu extatiq11e. he clarinet here counterpoint it own riing fifth, reminding u of the truggle. fl t) fl,@} p dolce pp ""3 FIGURE POEM OF ECSASY, MM ~3 Hull, Scriabin: A Great Rlmian one-poet, 191. Chapter ScYcn 265

269 he intenification of motivic polarity increae toward the end of the work. Approaching the finale a highly ignificant point of conflict i announced. he trumpet initiate a contrapuntal verion of the triplet motive, which wa one of the primary origin of heme. he other member of the orchetra, notably the horn that contantly manage to avoid chromatically decending, carry heme itelf. he end of the ymphony i ignalled; chromaticim ha been fluhed out. It lat remnant occur in the chromatic # of the penultimate chord of the work. (2) he Melodic Search for onal Stability Although Baker' thematic analyi i the mot rigorou to date, Hull' 1918 brief ummary i omehow more inightful a it correlate the theme with it harmonic trajectory. He decribed how the "trumpet ubject become broader, and aume great majety, until it finally unroll itelf in a rugged and diatonic epilogue of immene power and triumphant grandeur." 524 In thi preentation from m. 269 (rehearal fig. 16) a udden turn at the end of the riing fourth leap via a ixth from B tog, decending in whole-tone tep rather than chromatic. ~- F 1r r FIGURE 7-16: POEM OF ECSASY, MM Harmonically thi decent from G to EP i accompanied by a plagal cadence (EP ~ AP) over an AP pedal. he melodic drive activity begin to approach tonal deire once again. In a imilar vein, when it firt aroe, heme wa preceded by a triplet motive outlining IV ~ V ~ I, and thi i what the trumpet theme recede to here (A~ B ~E)..ff dolce FIGURE 7-17: POEM OF ECSASY, MM he triplet motive, with it trong tonal aociation, often accompanie the approach of an object of deire. In the final weep, the triplet motive become firmly triadic, initially demarcating a minor triad. 524 Ibid. ( :haptcr ScYcn 266

270 lj A - 1! ' : ~--- ej ~ cren. ~ L. - ~ L... " L... ~-L -., /1. l., :...0. ~- I:;:" t.;;;;: ~ r ~~ FIGURE 7-18: POEM OF ECSASY, MM Atm. 585 thee triplet are commuted to the harp' F major arpeggio. hu melodic apect become harmonic, eventually merging into a blazing C major triad at the culmination point of the piece. 525 In ummary then, thematic development i concentrated into the trumpet' theme. he tenion between the motivic drive continue to exert preure after they have created heme, now intenifying within the theme itelf. he trumpet trie to eradicate the chromatic decent and place it back into the orchetra. he climax of the work occur 'outide' the trumpet' heme, the theme itelf being abent from the final climax from mm. 585 (rehearal fig.41). he conflicting motivic drive tenion become weakened in preparation for the moment of ectay. he truggle for a table ocial whole i complete. Harmonic enion, Cycle and ialectic Leap Jut a cyclicity aturate Skryabin' text, o it aturate hi muic. hi wa a concern of Chapter 4, but cyclic progreion operate in a dialectical drama that we mut now work through. In the Poem of Ecta.ry, an earlier work than previouly analyed, an inordinate number of medium-cale progreion are found. hee are charted for perual in the following ummary, each being labelled in the relevant poition of Appendix F. 525 "\!though Pavchinky' piano continue thi triplet motive in full chordal form in the final meaure, thi i merely a device to replicate Skryabin' extremely long chord, and i not preent in Skryabin' core. Chapter SeYen 267

271 M EXPOSIION EVELOPMEN (181) RECAPIULAION FIGURE 7-19: ONAL FUNCIONAL SI-IIFl'S IN I-lE POEM OF ECSASY Chapter ScYen 268

272 In the Poem rifecta.ry, middleground rotation eemingly replace the deep tructure. hi i one of the 'poetic' element of the Poem rif Ecta.ry which, a Baker correctly aert, i not a ymphony. hough Baker' ummation pertain to the Liztian thematic development, it 'freedom and fantay' extend to tonal concern. 526 I will recontruct it ketchy background, uch a it i, through a contemplation of tonal function in due coure, but for the preent I remain in thi revolving foreground. Like Blavatky' cyclical comogonic model that o thrilled Skryabin, Hegel' evolutionary account of the awakening of concioune employ circular metaphor, enunciating antean level. 527 Hegel intricately decribe how philoophical idea move fluidly out of themelve in a perpetual dialectical piral, ultimately reaching a higher form in the 'Abolute Idea' or Wienchafl. hu an Idea achieve "unity with itel ''. 528 hee cycle are therefore part of a more generalied linear motion- a piral. Like Blavatky' countle eptenary program with their evolutionary level, Hegel poit ditinct tage or Stationen de Wege. 529 he pirit pae through numerou phae of elf-education, elf-diviion, conflict, mater-ervant differentiation and reveral, crii, abolute terror, death and rebirth, before the ubject then finally become hi own object. A quoted by Abram, Hegel claim, "each of the abolute oppoite recognize itelf in it other, and thi recognition break out a the <ye!' between the two extreme". 530 Reounding echoe of thi 'overcoming' of negative oppoition punctuate Skryabin' Poem rifecta.ry. Cave of monter and dragon, which the Spirit mut overcome, lead to the Univere' reounding cry of "I am". 531 Hegel' ring eventually lip out of themelve into their own oppoition in the tage of "abolute freedom and terror". Here the Spirit arrive at the pinnacle of it eparation and become, a Abram quote, "merely the fury of annihilation". 532 Skryabin' Poem rifecta.ry emphatically enter thi tage: You may know all your onene Annihilated within me! Rie up one againt another, Strike againt me, Negate your love! urn againt me, all people and element, All horror lift up your head, ry to detroy me, 5 26 Baker, he Muic~( Alexander Saiabin, Blavatky' anthropogenic model involve even 'root race' which, at end of the eventh, return to a tate of Prqyala (ret), awaiting the ubequent Manvantara (tate of prologue) -endle cycle. Barborka, he Story of Human Evolution. 528 he proce i decribed in excellent detail by Murray.-\bram: M. H.. Abram, he lvfinvr and the Lamp: Romantic heory and the Oitical'fniditiOii (Oxford: OUP,-1971) M. H. Abram, Natural Supemat11ralim: radition and Revolution in Romantic Literature (New York: Norton, 1971 ), Ibid., Although ragon are ymbol of 'horror' here, we mut remember that to heoophit, they were ymbol of knowledge. Barborka, he Story of Human Evolution. 532 Abram, Nat11ral S11pematumlim: radition and Revolution in Romantic Litemf11111, C h3ptcr SeYen

273 Cavern of dragon' mouth Serpent twit round me Contrict me and bite me. Skryabin would undertand the tep-like, linear, nature of Hegel' dicoure via Plekhanov' account. Plekhanov reolutely init that the univeral Spirit move through 'tage', in contrat to the "o called evolutionit" who uppoedly regard development a a eamle proce. hey would like to prove that in nature, a in hitory, there are no leap. ialectic, for it part, know very well that in nature, a in human thought and hitory, leap are inecapable. But it doe not ignore the incontrovertible fact that throughout all the moment of change one and the ame tmintemtpted proce operate. ialectic imply eek to clarify the entire erie of condition under which gradual change mut necearily lead to a leap. 533 And in Skryabin' muic, a in hi text, the negatively-driven leap between circular progreion form a teleological piral, each rotation building on leon previouly learnt. hi progreion i affirmed in (at leat) three ditinct muical parameter. Firtly, the actual mechanic of circular rotation- the dicharge between functional cycle and epicycle- flow through negation. Secondly, the variou cycle can be form of negation in themelve~ negation of a particular tonal function. Cycle can undermine the tability of a function, and, through negation, refine and vitalie it. hird, and paramount, i a pecial kind of procedure of tonal function engendered by rotation, in which the nature of functional relationhip i called into quetion. he firt two procedure will be uccinctly expounded below; thi third and more ubtantial invetigation will occupy the remainder of the chapter, leading to a dicuion of tonal function in the ymphony and the dialectical mechanic of it deiring apparatu. (1) he Mechanim offunctional Rotation: Negation of the Cadence A expected, drive fluctuate in rapid ucceion at the mot immediate level, but tructural level are often clarified through direct dicharge. One perfect cadence inc major- the only pure example in the piece - i heard in m. 3 and etablihe the opening function that emerge from the miama. hi i what the Soviet muicologit Aafiev call "the firt jolt". 534 But cadential preciion i quickly negated. In m. 71, a area (emphaied by a-rives on C / F#) float above as pedal (alternation of and AI>); it i grounded in m. 74 when the / AI> pedal dicharge plagally to a Ei/ chord, mediated by a 'parimoniou'- major third related- C chord (m.73). m Plekhanov, 'he!\leaning of Hegel' Guenther, Vat7)(Jm emoua' "Garmoniia Skriabina": A ramlation and Clitical CommenlaiJ', 139. Chapter SeYen 270

274 FIGURE 7-20: POEM OF ECS1\SY, MM he interjection of thi latter major third lubricate the plagal dicharge, and i widepread in the poem' cadential organiation. Exploring the very firt page of Appendix F, intance of perfect cadence announce themelve more frequently. Noteworthy paage include: m. 25 (where a -7 G cadence i mediated by Bl>), m. 28 (where C -7 F i mediated by AP) and m. 33 (where G -7 Ci mediated by E). hi proce itelf i a form of negation- a negation of the cadence. he example on the firt page of Appendix Fare each preented 'monotonally' (i.e. in ingle drive formation), and, following the true perfect cadence in m. 3, they are heard a negated variant of the V -7 I paradigm. And thi negation of cadential dicharge et in motion a total re-evaluation of cadential procedure, culminating in the final moment of the work, to which I will hortly turn. Jut a Skryabin' Spirit negate it own deiring apparatu, o Skryabin negate the muical carrier of tenion and dicharge. (2) Cycle a Negation: emova' 'Major Enharmonic Sequence' One readily identifiable model in thi poem i ernova' 'major enharmonic equence'. In uch a equence, enharmonically equivalent chord (a-rive) are preented individually and equenced in t2 tranpoition. 535 hi concatenation of t2 progreion harbour functional ignificance, which ernova overlook; tranpoing tritone pair a whole-tone upward create circular functional hift. hi i certainly an audible phenomenon, particularly in Skryabin', often crude, mechanically acending tranpoition, doubtle deigned to generate a baic form of tenion. For example, B/F moving to C#/ G would manoeuvre u orbitally: -7 S, -7 or S -7. Such intance abound in the Poem q(ecfa!j. hee whole-tone tranpoitional tep create a ladder, otenibly with ix rung. In fact, due to the t2 tranpoition, there are only three rung; a elf-replicating tritone witch occurring on the fourth. 535 Ibid., 97. Other equence ernova find include: 'the minor linked equence' (209, t3 equence) and 'functional equence' (239, t11 equence). Chapter Sc\ en 271

275 ~ ~ ~ ~ ~ ~ FIGURE 7-21: RANSPOSIIONAL MOEL OF 2 PROGRESSIONS OF RIONE PAIRS he reader, now invited to tum to Appendix F, will find an illutration of thi model in practice between mm A chain of no le than ix link run thu: 0 /F (m.344) -7 ~/G (m.345) -7 E~/A (m.347) -7 F/B (m.351) (in alternation with the previou E~/A) -7 GI~ (m.355) -7 A/H (356). Chapter Se, en 272

276 ., FIGURE 7-22: POEM OF ECSASY, MM Remarkable a uch equence are, their value lie in the double rotation of tonal function they employ: S S Yet Skryabin cat thee in a 'dialectical' evolutionit drama where a quantity of tenion (of rotational dicharge) mut eventually trancend into a qualitative change (lipping into negation). onal function overlap in m. 356; the A/EP polarity ( functioned) compound the G/P rather than replace it, leading to a qualitative change, brought forth by the coagulating tenion of the rotational model. he lingering a-rive on EP in m. 356 herald a local cycle of fifth, tretching down, via an }RIVE on AP (357), to reaffinn the P pitch in m he whole-tone relation of the P and EP element then become iolated and re-emphaied in the following meaure through variou motion to AP (i.e. mm ). he congregation of thi P and EP around an AP centre a a 'tonic' fonn (triadic and ba emphaied) in m. 364 define their function a local (EP) and S chord (ll) that dicharge into. hi tonal centre i alo implied through triadic, peudo-tonic (f-riv 1 J and ba preentation. he ertwhile 'atonal' drive model become tonally fixated, replicating the acent from drive to deire, now with Hegelian upport. hee cycle then, like the 'creative pirit' weary of their_tructure, generate enough tenion to overleap their boundarie and trancend into a new tate. Chapter Sc, cn 273

277 In order to appreciate the dialectical ubtlety of thi paage we need to inpect it extremitie. he 'new' tonic of A~ ditribute it energy to it axial partner B and in m hu the paage return to the Saxi, and connect with the point of origin of thi entire paage- m a rare intance (the only one in the Poem rifecta.ry in fact) of full axial drive preentation, imultaneouly outlining B, F, and A~. 536 FIGURE 7-23: POEM OF ECSASY, MM Now we can ituate the entire ix-tage cycle a a negation of thi full-blooded Saxi, which break into it component part and i reaffirmed a a tonic through thi negative equence. he S function now emerge tronger, richer and ready to face new adventure. And thi S function feature in a new dialectic, one to which I now turn a I unpack Skryabin' dialectical manipulation of tonal function in the Poem ofecta.ry. (3) Harmonic Negation: he S a Antithei of the : Poem, Op. 71, no. 2 onal function i certainly uceptible to dialectical argument. Even a early a 1853 Hauptman wa uing Hegel and German Idealit theory to upport muic analyi. 537 Function negate and reaffirm each other, forming dialectical progreion. Belyayev' account of the Poem qfecta.ry exercie highly charged image of tonal truggle. o decribe one imple equence for example, "he tenion become more and more vigorou. In it forward momentum it quickly overpower the tonalitie of ~ major (mm ) and E major (mm ), achieving a climax on F major (mm.169 f )". 538 In antipathy to thi triving voice, Belyayev recognie paage of ret: "At the full trength of it intenity the approach toward ectay i till heavy: it till draw downward (the modulation to A~ major), but it ha been accomplihed! A man can ret himelf." 539 Crucially, thi ret i reached when Skryabin bring u into the S region. My invetigation of a piece that i encloed within the parameter of diatonicim, dicloe a onata-form organiation ditant from Skryabin' late tyle. Replacing a formal polariation,_., 536 he abence of the pitch B, mean the drive on B i preented only a a g-orjve 537 A hown by Harrion, HamJollic Functio11 in Chromatic Mmic, 218. Interetingly enough, thi included gender-baed depiction of harmony a f{!minine,.melody-a maculine, 226. S3tfZJ-IaiJpJJ.)f(eHHe ee Aa.AaeCH ace 6oAee H 6oAee MOI)'4eii. B CBOeM nocrynaeabhom ABIKeHHH BBepx OHa 6hiCrpo rrpeoaoaebae"t OHaAbHOCb e-dur (rr ) H OHaAbHOCb E-dur (rr ) 11 AOCmae epiiihhbl (F-dur, AaAee).» Belyayev, Mmorgkii, Skryabin, Straui11kii, <JlpH BCeH CHAe HarrpiKeHHJI 3KCa3 3OrO IOAXOAa e!l(e JKeA, ell\e JIHe HH113 (MOAYA11Lll111 B A-dur), HO OH }')Ke o6peeh! '-IeAoBeK MOJKe ycrrokohbch.>> Ibid. Chapter Sc, en 274

278 of I -7 V -7 I are miniature rotation of, Sand function. So many -7 S -7 pattern are found that the work appear to be tructured by thi deep, rotating energy. In Sonata no. 6, 10 and Ver LaFlamme, -7 S -7 rotation operated at a deep, tructural level a well a a urface level, replacing the -7-7 oppoition that fuelled the claical onata principle. Now we find that -7 S -7 pattern poit a new antithetical truggle in the work: a / S truggle. \Vhilt my tak i now to examine Skryabin' dialectical conception of tonal function, to achieve thi I make a preparatory detour through a later work, Op. 72, no. 1. he invetigation of thi hort piece ha been a running concern of the thei thu far, and thi final intalment will hopefully prepare u to organie the much larger Op. 54. o engage with thi problem I firt take naphot of Skryabin' portrayal of tonal function through hi hort career. he Ruian theorit Yavorky, who wa the firt to analye Skryabin' muic in depth, labelled three period in the compoer' career. he firt pan hi earliet twenty opue and i characteried by "a prevalence of the fourth degree of the diatonic cale and it "ubdominant" chord (IV) over the tronger, more pivotal "dominant" M or fifth of the tonality." ;.j(] he econd period i characteried by nervou energy in which the "ubdominant harmony gradually but quickly give way to dominant harmony, a if compelled."; 41 Skryabin' third ('late') tyle wa heralded when "he dominant M chord baed on the fifth tone of the cale overtake the ubdominant (IV) and produce a "tenion without relief." Skryabin "thirt for activity," here, but "the parch cannot be laked", Yavorky tated. He find no "active reolution, no releae into tability." However, thi tenion timulate "a further plurge of energy": further evidence of dialectical thought in the Ruian ialectical Materialit tradition. 542 And other too have declared that Skryabin' chromatic late ryle i founded upon the function. arukin aert that the mytic chord i a "chord that expree the dominant function", whilt Peter Sabbagh' entire diertation i an attempt to how how thi onority i built from a tructure although he admit, "Skryabin' chord loe it dominant function after, Op. 58". 543 Yavorky claim that Skryabin' 'ubdominant period' in hi early day wa due to the influence of Romantic "pychological" compoer uch a Chopin; S+-1 uch compoer ued the ubdominant a a lyrical region of relative tability, a afe haven of Nirvana that i heltered from the raging, deire-laden dominant. When Rameau firt coined the term 'ubdominant' he conceived it a being in perpetual 540 Bower, he NewS niabiit:-enlgma-and Anwer, 140. Yavorky declined offer to 'meet Skryabin on account of hi detetable 'theoophical fantaie' ( ); Skryabin wa well aware ofyavorky' theorie. 541 Guenther, Varvara emova' "Gannoniia Skriabina": A ranlation and Critical Commenlal)', 49. ' 42 Bower, he Nnv S criabin: Enigma a11d Anwer, J arukin, 'Scriabin and the Superhuman: A Millennia! Eay', Bower, he NewS aiabin: Enigma a11d Anwer. Chapter SeYen 275

279 duality with the 'dominant', claiming, "thee two term erve a a 'limit' of the mode. Each radiate out from the tonic centre in oppoite direction, yet each i ultimately drawn back to that centre." 545 But Skryabin' late muic ha been 'decentred' becaue the tonic i never actually cited; the tonic chord lie beyond reach; we rotate function perpetually like a erpent chaing it tail (a Blavatkian image). Another tatement by Rameau eem more apt to Skryabin' tonal logic; he claim that the tonic "mut be een a the centre of the mode, toward which i drawn all our deire." 546 Continuing thi view of tonal function a conflict, Candace Brower claim, "the I-IV-V-I cycle emphaize the oppoition between dominant and ubdominant, with the tonic triad appearing at the point where oppoing force came into balance." 547 Skryabin' idealitically inpired philoophy would not allow him to muically how the 'thing in itelf or, a Lacan would later call it, the of?jet petit a- the object-caue of deire. All one hear are muical drive which piral around a tonal centre which i alway a deep lack. Becaue of thi, the i often diplaced by the S; the conflict that we attributed to Rameau' and S actually become a / S conflict, the merely erving to invet the drive with hape and direction- to 'order the drive'. 548 A the S region challenge the region, Skryabin ue chord to mediate both in the Poem, Op. 71 no 2 (figure 1-25) and in the earlier Poem rfectay. In order to tackle the ignificance of tonal function I draw two tring together; the tircular and linear model of pitch pace from Chapter 3 work dynamically with each other. A previouly illutrated, the ba tructure alternate, G~, F and B drive. Circular pace (in thi cae, a minor third baed form of circularity) fixe thi a a tatic region. Yet thi view mut now be broken open. Combining thi tircular pace with linear pace how how Skryabin ue the function to poit a different regional conflict within thi axi. he opening chord i far from a imple onority; it i a manifetation of the famou mytic chord that contain drive that bifurcate in the region and S region imultaneouly. In contrat to the analye of ernova, Skryabin' chord i conidered by dritje anajyi to be poied between two tonal region, compriing two dominant eventh tructure which reach toward the S and the of a hypothetical C major key: a C 7 chord (which pull to an F triad) and a 7 chord (which pull to a G triad). In the opening meaure ofop. 71, no. 2 the JJrytitchord i turned 'upide down', the occurring in the lower region rather than the upper, producing a drive toward G ( region) in an abtract C: major, and a drive toward F (S region). he ue of thi whole-tone combination of drive how a ubtle linear / S bifunctionality where the ba-progreion yielded a imple homogenou in cirtular pace. he chord become bifunctional, making linear demand in two eparate direction through preentation a imultaneou eventh chord. 545 Chritenen, &tmeau and Muimf hought in the Enlightenment, Ibid., Brower,',\ Cognitive heory of Muical Meaning', A mentioned, the phrae 'order the drive' i a reference to Julia Kriteva' chom. hi i the pre-lingual emiotic realm of phyical drive, which depite lying apart from the Symbolic Order, are nonethele regulated in a primitive form. 276 Chapter Se, en

280 And thi plit between linear teleological dicharge and drcular homogeneity allow the S region to erupt and intenify throughout the piece. Surveying the opening entence, Sand function are preented with relatively equal weighting. However, in m. 4 (and certainly in m. 5) the S region (F) i foregrounded more o than the region (G) that i reduced to a mere trill in the upper regiter that evaporate quickly. It i true that the opening dialogue between the Sand the i recapitulated in m. 6, but a the upper melodic line reache it climax in m. 9, we alight upon a pair of fifth (F/C) outlining the S chord/region (F) rather than the bitonally imultaneou region/ S region (G/F). hi arrival of an F chord i upported by an undulating drive on B. Naturally thee two dominant-eventh on Band F hare the ame tritone (A/#) and therefore the F S region alo acquire the tatu of a chord in itelf with it enharmonic E~ creating the eventh. he S region i boltered at thi point. Furthermore, in m. 10 the G~ chord act a a Neapolitan-ixth to further emphaie the F 7 that we hear in the ba oon afterward, and in m. 11 a C major chord in the upper voice (a chord) i underpinned by another dominant eventh on B, a S drive. My linear model of Skryabin' tonal function therefore yield a motion through two relatively table competing function - the and the S. he erve a the protean element that navigate the path between, erving alway to negate (and thereby mediate and affirm) the poition of the other. hu the S gain acendancy over the that i reduced to a mere 'abtraction' in Skryabin' late tyle, a ernova claim, the i featured only in the "i.magination". 549 hrough the drcular ubtitution model, thi region (determined to be the S region through linear pace) can be poited a a table background, exerting preure underneath free flowing drive. hu Skryabin' late tyle ignifie a return to hi earlier predilection for the ubdominant. Ernt Kurth characterie Romantic muic a a truggle between the luminecent dominant region and the hadowy ubdominant region, uing the S foret muic in Act 1 of Siegfried againt the muic of the hero to upport hi claim. 550 hi hadowy ubdominant realm i one of mytery and lyricim and the dominant realm i a region of truggle toward luminecence, the ame truggle that characterie Lenin' 'fourth term of the dialectic' mgativity. In the ame way, Rameau had characteried the ubdominant a "orrow" and the dominant a "liveline". 551 hi negativity i where deire-baed teleology i mot virile; the S, by contrat, characterie a certain acetim. hi acetic concern for the S region i fotered in Op. 71, no. 2 when, approaching the central point (and it 6 replication which contitute the econd half of the piece), the -7 dicharge pattern dimantle itelf. Here the drive, which in earlier piece moved toward a tonal object of deire, become internally diffued. By the time we reach mm. 18 Skryabin preent b RIVES in whole-tonally related k{!y (~ 7 ~ 5, E~ 7 ~ 5, F 7 a 5, G 7 ~ 5, A 7 ~ 5, B 7 ~ 5 ) in uch a dene way that they 549 Guenther, Varvara enwua' "Gal7lloniia Skriabina": A ranlation and Critical Commentary, Kurth, Em! Kmtb: Selected Writing, Chritenen, &1meau and J..1uim/bo11gbt in tbe Enfigbtmment, 249. Chapter ScYcn 277

281 become inditinguihable. hu Skryabin return to the ebuyan paradigm of forming aggregate combination to both build climaxe and lead to a final onority. 552 FIGURE 7-24: POEM, OP. 71, NO.2, MM In thee meaure the drive become o fragmented that our cognitive ability to perceive them mut alo break down. rive anafyi become almot worthle here becaue of the over-loading of drive energy. And thi occur over the ba pitch F (E~), a ignifier of the 5 region relative to an abolute key ofc major. My invetigation of the Poem ofecta.ry reveal a comparable preponderance of the 5 function. In mm , , progreion tep forward. In other way too, the 5 function upplant the a ertwhile antithetical correpondent to the. Figure 7-19 tabulate numerou progreion, each with different duration and tructural weighting. It how variou intance of train between the and 5. For example, the molto lang11ido theme at m. 87 uher in a protracted paage of S predominance. he 5 drive on A~ become tonicied, with ba upport, thu foregrounding itelf againt the urrounding drive complexe. hi 5 drive now commute to the tritone-related (mm.93-99) reolving toa ba drive G (m.101) in a eemingly conventional 5-7 dicharge. However, thi ba drive actually upport an uncontaminated chord on C (econd inverion), thu creating 5-7 motion, with a 'fudged' form of dicharge flowing into a 6/4 chord. he functioned dicharge i thu marginalied in favour of (1) 5 preponderance and (2) 5 dicharge. tmjllo languido W\VW. C\ ~erynote. com 552 Mark Macfarland, 'ranpoitional Combination and Aggregate Formation in ebuy', ivluir heory Spectmtn 27/2 (2005), 210. Chapter ScYcn 278

282 I;;:.. ~ 8 >' ~,.. :> ::t """ r FIGURE 7-25: POEM OF ECSASY,!YL\L At time, rotational direct dicharge can reaffirm the through negation of the S region. Incidence of 7 S 7 7 rotation become noteworthy due to the cham which can eparate the pure from the ubequent S. Often, depite dicharge poibilitie, dicharge i rejected in favour of a 'negative' functional ubtitution. Mm contain a moderately tabilied on C (with a dionant A~ ba tone), itelf the refined product of cycle-of fifth motion in mm (A in m. 106, in m. 107, G in m. 111, C in m. 116). hi 'leap' to the antithetical S region through a-rives on and G~ in m hi region fulfil it functional imperative and reache back to the region, reaffirming the C through S 7 7 dicharge. 553 hu, after a harh moment of negativity, the lipping into the S, the harmonic tructure between the pole i recontructed and reaffirmed. 553 he function i expreed in the G pedal dicharging to a C in m.124, but fully realied in m Chapter ScYen 279

283 Chapter Se, en 280

284 FIGURE 7-26: POEM OF ECSASY, MM Whilt ection of the poem howcae the and S function, paage are carce. he only point when the function accompanie a ignificant thematic turn i the ragico (m. 213). 213 ragi co... }- - IJd ~ 3,~ Y-al lt*l ' I t "1 I }; > > r ::--... r----r 'l!.:.f-----;r...,- - - r ~ F IGURE 7-27 (1\): POEM OF ECSASY, MM Chapter Sc, cn 28 1

285 FIGURE 7-27 (B): POEM OF ECSASY, MM hi theme, with it dark harmonie, unettling rhythm and low bra orchetration, offer the only muical analogue to the "dark preentiment / Of hining rhythm"- the 'horror' ection of the poem. he function preide here, launched by interlocked drive on E and B!l. But thi accentuated tonal function i quickly dicarded. rue enough the function i emphaied by a three-tage cycle of fifthmm. 215 (A\ 217 ( 7 ) and 218 (G 7 ) -,returning to it E/B origin in m. 219 and leading to a fully fledged 'authentic' drive on G, but at the point when the function become tronget (with ba upport and a full /-RIVE in m. 232), it i paradoxically weakened and uurped by the 5 functioned drive on F and B, and latterly, the function in m. 239 ff. hi drama i hown on Appendix F. Here I mut mention the ingenuity of Belyayev' 1972 analyi of the Poem rif Ecta.ry. Apart from the fact that Belyayev prefigure my drive anafpi by howing how Riemannian function can collide into a form of bitonal dicoure in a way that alo forehadow Harrion and Swinden' recent work, he alo expoe the nature of the Poem rifectay to be a myth. Showing the 5 to be a far more ubtly crafted region and in greater proliferation, he ay, the -complex i alo "le complicated than the 5 > complex." 554 Providing a peudo-acoutical conception of function, he claim, "he S complex i of the greatet interet a it yield the greatet quantity of partial (which enter in to it compoition) 554 «0H []... MeHee CAO)!(CH, '-!em KOMnAeKc S», Belyaycv, 1\11/orgkii, Skryabin. Strauinkii, 62. Chapter Se, cn 282

286 compared to the and complexe; and a a complex, it hift it centre of gravity from the fourth degree to the econd degree." 555 hi take account of the upertonic major chord- the auxiliary dominant- that i o problematic to characterie functionally. Of coure Belyayev how the S complex to be at war with itelf. At one point in the poem, he ay, "he theme of ectay commence anew, now a third lower, but the oppoition of the S [to the 1] (mm ) become more marked. A terrible conflict begin (mm ), yet the harmony doe not leave the confine of the S complex." 556 In the firt half of the work, "a truggle occur. between the two ubdominant tonalitie of C major to which thi part of the development return - AP and major. At the end of thi half of the development AP certainly prevail, but it upremacy in the development i now detroyed, and it ha to yield to C major in the reprie, which from here become a preparation for the tonality of C major." 557 Belyayev i, elf-admittedly, unable to aimilate the tritone equivalence of thee two S functioned chord into hi account: "In thi regard, the extract under dicuion i epecially problematic for me on account of it harmonic ambiguity. Both AP and hare the ame ubdominant harmonic meaning during the preparation for C major. Moreover, the dominant of major and A flat major are equally remote from each other, and, obviouly, the logic of their relationhip i not immediately evident." 558 hu the precie nature of thi 'truggle' elude him, whilt ernova comprehended the 'tritone link' well. Naturally thi analyi run contrary to Baker' urvey which trie to 'queeze in' the traditional V- I oppoition. 559 But Baker run into problem. For all that hi graph how tructural progreion and prolongation, hi proe erve to highlight way in which the function i evanecent. At the end of the development (m.l27) for example, he claim, "he ba thu move away from the dominant, 555 <<l-lai160abllli1h HHepec npeacabn!e co6010 KOMI1AeKC S, KaK: 1) AaiOll.\HH HaH60Ablllee KOAH'IeCBO 'iach'ihb!x (BXOAJII.LIHX B ero cocab C03B)"fHii) cpabmneabho c KOl\tnAeKcal\m 11, a aioke: 2) 11 KaK KOl\tnAeKc, nepemel.llaioll.(hh uehp lkech cy6aomhhahoboro co3b)"'hji c 'iebepoii crynehn Ha BopyiO», Ibid., «ema 3KCa3a Ha'IHHaeCJI CHOBa, )')Ke epuneii HWKe, HO npohboaehcbhe S (B akax ) AeAaeCJI 6oAee 3Ha'ii1eAbHb!M. Ha'IHHaeCJI )')KaCHaH 6opb6a (r ). rapmohhh He I10KI1Aae npeaeaob.)) Ibid., <ill nepboii noaobhhe npo11cxoah 6opb6a Me)I(Ay ABYMJI cy6aomj1hahobbimh OHaAbHOCJIMH C-dur, K B03Bpal.lleHHIO KOoporo BeAe 3a 'IaCb pa3pa6okh, a HMeHHO Me)I(Ay A-dur 11 -dur. A-dur B KOHlle 3Oit noaobhhbl 3Oit 'IaCH pa3pa6okh XOJI 11 no6e)i(aae, HO ero roci10acbo B pa3pa6oke )')Ke HapyllleHO H OH AOA)f(eH ycyjijib MeCO C-dur penpn3bi, CAeAaBllli1Cb c 3oro MOMeHa AHlllb noaroobahiomeii C-dur OHaAbHOCbiO.» Ibid., «H B 3OM CMbiCAe pa36npaembih OPhffiOK AMI MeHH npeacabnie oco6bje 3aPyAHeHHJI H3-3a ABOiicBeHHOCH rapmohhh 3oro Meca. H A-dur n -dur HMeFO OAI!HaKOBoe 3Ha'IeHHe cy6aomhhahobbix oha-\bhoceii npn noaroobke C-dur. KpoMe oro, AOMIIHaHbi -dur H A-dur O)I(AeCBeHHbi AaAeKH Apyr o Apyra H, no-bhahmomf, He HaXOAJICH B HerrocpeACBeHHoii AOrH'ieCKOH cbji3h.» Ibid., Area of focu on Baker' graph are rarely jutified. M i char~cteried a being baed, yet I would portray mm a tranitlonally 'rotational' o:e: the cycle 'of fifth i extremely prominent in thi ection), and mm a a -7-7 S -7 paageway. A imilar paage from mm i hown to prolong the ba G, which i articulated at thee outer extremitie only a a dionant ba note (i.e. not upported by harmonie). \Vhilt my analyi could upport thi prolongation, finding a running -7-7S-7 progreion, the S function enjoy far greater prominence than the, particularly between m Chapter Snen

287 ultimately progreing through A~ to A~." 560 he axi ytem allow u to recontruct thi a a motion to the S function. Baker alo hint obliquely at the ignificance of the tritone in upplanting the function, mentioning "the replacement of the dominant note in the ba by the raied cale-degree 4". 561 And of coure, to u, thi tritone ubtitution hold a urrogate function rather than Baker'. Similarly, Baker' concern that "hroughout much of the development, harmony center one~, a foreign element inc major", i embraced warmly by me: E~ i a ubtitute. 562 One further piece of evidence for the S upplanting the function will be revealed through dicuion of the final approach to the ectatic tonic chord. But before thi, we need to explore way in which the tonic chord i poited a the object-caue of our deire. he onic a objet petit a Unlike the late onata, where the deire-controlling function i left unvoiced a a tonicied unit, he Poem rifecta.ry confirm it majetically. But from what point i the chord inaugurated? Belyayev' account of Riemannian function in the Poem rif Ecta.ry i omewhat different from mine. I utilie Lendvai' axi ytem, which mean that after finding the, I label the other function 'abolutely' throughout the poem. Belyayev, by contrat, label, Sand function 'relatively' to regional hift. He rather inexplicably locate a 'modulation' atm. 27, and thu label the C 7 chord underpinning it a functioned rather than a functioned onority. 563 Whilt hi approach i uppler than mine, it i nonethele problematic. Even in Skryabin' 'middle period', tonal region cannot be experienced thi way, and can only be aerted retropectively after the unveiling of a local tonic; thi rarely occur until the final geture of a piece, if at all. A Adorno declared, the tructural litener "hear the firt meaure only when hearing the lat, which redeem it." 564 But unlike Skryabin' late tyle, where functional label can be almot arbitrarily aigned by analyi, hi Poem ~(Ecta.ry, through variou procedure, force u to focu on C major a a chord, region and key by unveiling the function early in the piece. hi facilitate Belyayev' approach, which would be invalid to the vat majority of Skryabin' work. For reaon outlined in Chapter 4, my approach eem more germane to Skryabin' general tonal practice and o too, to thi work. Belyayev' approach venerate the region of C major, which to my mind i an inauthentic dipoitff- ocial apparatu, artificially contructed in an attempt to hape and contain volatile drive energie. Nonethele, in thi curiou poem, the key of C i etablihed a the focal point of the piece, however fragile it may be. hi i Lacan' of?jet petit a. Somewhat bizarrely, he Poem~( Enta.ry etablihe thi tonal centre almot prematurely. Weak drive one~, G and ~ are Baker, he Muir of Alexander Saiabin, Ibid Ibid., Belyayev, Muorgkii, Skryabin, Stmvinkii, 65. SM Hoeckner, Programming the Abolute: Ninetemth-Centlll)' Getman M11ic and the Hem;enmtia of the lv!oment, 86. Chapter ScYen 284

288 functionally clarified in m. 5 a the harp and tring outlay a clear C chord, dicharging from the G element, now inveted with functioned tatu. Plano< 1'\ Abdaate. J.. aa~nldo ",, l"l._ 1\ rn r:r-1.r-n i:r-1 1 J r,. 1 J i.i.rn :1 rj i':r'i..rn.j:------~~-----a"-,,......p 3 II J-- -.,h II r:n l'':i r:n J"':1 r:n J.l rj', n I""l. ~-,..,., I"'""l _...,... ~ t r.,r , FIGURE 7-28: POEM OF ECSASY, MM hi initial cadence tructure all following cadence, which become mimetic. hi i a particularly Lacanian and dialectical moment. Lacan dicue infant whoe crying ignal are dialectically formed through the atifaction provided by parent. Regardle of what an infant aduai!j biologically need, any atifaction it receive goe toward building up a new biological need-repone code. hu an infant i immered in a deire-baed network. And thi i alo how uch muical ymbol are built; we now know how inchoate drive can be duped into atifaction, regardle of what the drive actuai!j want. hi robut enunciation of the chord now uffer extenive negation. It ucceive preentation in m. 10 i immediately polluted with the pitch B, creating a 'major-eventh', imbued with the leading note of the function. And depite the frequent emphai of the C' function a a triad throughout the piece (mm.19, 37-38, 73, 101, , 270, , , 495, 532, 545, 583) thee triad are 285 Chapter Sc, cn

289 never heard uncontaminated until the final moment of the piece and are alway built into other imultaneou drive. here are variou alternative technique for poiting and confirming thi C a the tonal nucleu of the piece. hee method all make ue of dialectical tenion and negation. One uch paage, explored earlier, occur in mm when a protracted cycle of fifth draw u from drive on E to drive on C in mm , down to A~ in m Figure 7-30 upplement figure 7-25 that quoted mm FIGURE 7-29: POEM OF ECSASY, MM hi curiouly rare ue of major third 'Cohn pace' that poit the central haven of C, i facinating. Apart from the vertical tritone link, the entire paage i ingularly denuded of the tritone relationhip that are o pertinent to the ret of the poem. hu 'Cohn pace' become the negation of 'Lendvai pace' in the avec une noble et douce mqjeti ection of the work. It tand apart a a pecial event, yielding C a a cenral axi of ymmetry. But excluion of the chord of C i naturally one of the clearet way of implicating it. Mm how an attractive drive configuration on Appendix j Notice how the chord of C i omitted from the equence, preented only a a ba pitch; an alternative - ubtituted - tonic of A i immediately poited. In a different context, but baed on a imilar principle, Joeph Strau' theory of 'pattern completion' come into play, "when a normative unit of n element ha been etablihed, the appearance of any ubet of that unit containing n-1 element will create an expectation for the ingle miing elemenf" 565 In the Poem ofecta.ry the omiion of the chord of C, after it initial preentation, create a deire for it. Paage in which the chord i omitted alo work dialectically with paage in which the tatu of the C chord i heavily emphaied. In mm drive activity on C become the norm, alternating tonicied variant and dominant (!-orivf) variant. hi activity continue into a highly prominent S ection in m. 47 (a t2 ~ariant of m. 39), for which the C erve a a bridge a 565 Pople, 'Skryabin' Prelude, Op. 67, No. 1: Set and Structure', 168. Pople explain Strau' theory. Choptcr Sc, cn 286

290 illutrated on Appendix F. Of coure, thi S ection (ee mm ), characteried by the C' abence, i terminated vias -7-7 dicharge into a- RIVES on C / F# in m. 67; and heavy C aturation follow. he device decribed above help to orientate u toward an object of tonal deire, precribed from the very opening of the piece and oon, in one final cataclymic geture, to be approached directly, but with a crucial twit. he Return Journey epite Hegel' veneration of 'ociety', the dialectical ytem of the Phenomenology breache the ocial model and return to a 'tate of nature'; now elf-conciou, it "recognize itelf in it otherne". 566 Skryabin undoubtedly ruminated upon thi recognition of otherne in true Hegelian fahion: "Every tate of concioune i a relationhip to another tate of concioune. hi mean that it appearance i a negation of all ele. In thi negation I relate to the other, that i, unconciouly I truggle with the unconciou fonn of thi other abiding in me." 567 Vitally, Hegel' model i entirely optimitic. Approaching abolute knowledge in the final tage of elf-recognition, intelligence i no longer compelled to go beyond itelf. Skryabin eem to have adopted thi Hegelian view of the Univeral Hitory and knowledge, a explored by Schloezer, who quote Skryabin' word: "he firt tep of cognition i the firt tep on my road back. My voyage of earch and return mark the beginning of the hitory of human concioune, of cognition, of it creativity and of mine." 568 he terminology here i particularly Hegelian: the "hitory of human concioune", "earch and return". 569 hu the final tage of the Spirit' evolution i a homecoming, a reunion of the Spirit with itelf, the moment of truth. And thi bring atifaction; the human pirit i "at home with itelf in it otherne." 570 hi ectatic atifaction of deire oppoe Schopenhauer' acetic precription for conquering deire' interminable preure. Skryabin undoubtedly aborbed thi contradiction- Hegel' hope veru Schopenhauer' depair- into hi worldview. Yet there are paageway between the two attitude. he mater/ lave dialectic' ironic role-reveral ee the lave uurp the mater a he learn the upenion of deire. he lave i forced to prepare food for hi mater, denying himelf atifaction and, thu controlling and matering deire. It wa thi acetic tate of Niroana that Skryabin earched for with hi yogic breathing and Indian religion, and thi, of coure, lead to Schopenhauer. 566 Abram, Natural Supenzatura/im: radition and Revol11tion in Romantic Literature, Bower, Scriabin: A Biograplry 2, Ibid., Abram, Nat11ml SNpematurali!ll: radition and Revolution in Romantic Literature, Ibid., 229. Chapter ScYcn 287

291 But, a figure.7-1 how, Skryabin ought Hegelian 'abolute being' through ectay: "he moment of ectay top being a moment (of time). It engulf all time. hi moment i abolute being." 571 Compare thi to Schelling' word, "at that moment we annihilate time and duration of time; we are no longer in time, but time, or rather eternity itelf, i in u. he external world i no longer an object for u, but i lot in u." 572 And the final paage of the Poem of Ectary return to a full-blooded, ectatic tonic chord. hi wa calculated to bring an end to dialectical truggle through fuion and ynthei, breaking the harmonic limit and flooding into a qualitatively new tate. Skryabin' oblique reference to the note of trumpet that brought down the wall of Jericho are rather informative, a Sabaneyev quote: I once aked Skryabin if he didn't feel that the end of Ectary reounded too loudly, that it imply deafen, and I aked if thi wa in hi plan. He anwered, "No I diagree. he phyical energy (inew) of ound ha ignificance. Sometime I want, rather, I need uch ound in order for the wall to tumble -literally, not metaphorically." 573 he trumpet reache the 'orgamic' final cadence, which i often mirepreented by commentator a a perfect cadence. Mitchell Bryan Morri claim, "not until the final chord doe it offer a completed and fully reolved motion from the dominant to the tonic". 574 But the final progreion i in fact a plagal cadence- a religiou 'Amen'. Even ernova, who notice that the third ymphony, he ivine Poem, conclude with a IV- I cadence, fail to take account of the identical procedure in the Poem ojecta.ry. 575 Baker' diagram how a Gin the fundamental ba-line from m. 539, moving to a C chord in 543. hi modet ummary ignore the ubequent occurrence above the tonic pedal. In m. 547 a novel otinato outline an h;;;_rive on, with paing reminicence of Gin the ba (m.552), netled within a C triad. G i purpoefully dropped in m. 541 and for 64 meaure - a ignificant portion of the work - the pitch remain conpicuouly abent (apart from a brief appearance in mm ). Oberve how, on the final page of Appmdix F, a cycle of fifth tretche from B (m. 559) to C (m.583), but carefully unfold each drive a a triad; the G drive therefore eem to be purpoefully omitted. hi coda then (Baker cite a more extenive coda), i a econd attempt to conclude the work, the final ynthei of the two truly oppoing function ~the and the S. And jut a the thematic element vied for prominence in a 'truggle for recognition', and ubequently a 'truggle for domination', o thee tonal function lock head. Whilt hearing the ~ pitch in the penultimate chord (m.600) a an 571 Blavatky alo dicue thi Hegelian 'Abolute Being': Blavatky, he Semi octrine: he Synthei oj'scimce, Religion and Pbiloopf?y, Weininger, Sex & Character, <<Jl pa3 crrpochi\ ebo, He HaXOAH i\11 OH, <io KOHell «EKCa3a» 3BY<IH Ci\HWKOM peaabho rpomko, <io OH rrpoco ~ «OrAylllaC'()), H BXOAIIAII 3O B ebo rrt.ah? CKp11611H OBeiit."~tife: - He, /1 He COrt.aCeH. M cp11311<iecka/l CHAa 3ByKa HMee 3Ha<IeHHe. HHOrAa MHC XOCbC/1, MHC H)')I(HO akhx 3BYKOB, <i06bl CCHbl pywhahcb, IO-HaCO/I!liCMY, a He HHocKa3aet.bHO.» Leonid Sabaneyev, Vopominaniya 0 Sko abine (Mocow: Claica XXI, 2003, Morri, Muical E!Vticim and the mnrmdmt Strain: he Work of Alexander S kryabin, 1898-/908, Guenther, Varvara erno1jt1' "Gmmoniia Sk1iabina": A ranlation and C!itical Commentary, Chapter Se,-en

292 augmented variant of a function on G i tempting, a in the final chord of eir, the abence of the pitch G force u to hear a tonic C chord and a ubdominant F 7 chord (it Ei> enharmonically repelled). --~ 598,.--.,:!!: ~ ' Figure 7-30: Poem of Ectay, mm hi climax i 'other' to the dominant currency of the piece; it ha not been called forth by it immediate tenion; it i a qualitatively new ending to a ymphony whoe preure wa too volatile to offer a ingle pathway out of it drive conflict. McClary call thi "inorganic cloure", impoed from the outide. 576 he ever-expanding ubject of thi piece arreted it progre inconcluively atm. 547, and wa upereded by thi new 'outer', thirt-quenching cadence. he 'background' antithetical truggle of the Sand now reache into the 'foreground', manifeted a a cadence. In thi final Hegelian cadential manoeuvre, the muical ubject now "recognie itelf in it otherne"; it evolution i now complete. he Poem ojecta.ry i crucial to dritje anafyi a it preent perhap Skryabin' greatet (and lat) attempt to contruct an object of tonal deire, to which the drive become lave. Yet the fact that the drive themelve perpetually negate and challenge thi tonal centre ugget that, already, the drive had taken on a life of their own; the C major triad wa a Lacanian mirecognition of the drive' true object, a Lyotardian dipoitif From here on, Skryabin would never again force u to be o attentive to a ingle tonal focal point. he blazing F# triad at the end of Prometheu that aniel Harrion examine, trike our ear a wholly inauthentic: a fale ending: one of Adorno' "impotent cliche". 577 Harrion, examining the approach to thi chord how how it gain "tonic function by mean of it tructural poition alone." We wih to hear th~ F triad a the ubdominant of B~, but the "Pavlovian aociation m, McClary, Feminine Ending: Muic, Gmder, and Sexuality, 100 ff. J\kClary' example i taken from Salomi, whoe death i heard in C# whilt Herod' guard' muic i in C minor. 577 Harrion, Harmonic Function in Chromatic kluic: A Renewed 11alit heory and an Account of It Precedent. 289 Chapter Sc, en

293 of the tonic and compoitional concluion" get the better of u. 578 he leon of the Poem rifecta!)' i Hegelian: deire, through dialectical ublimation can lead to ectay. But Schopenhauer taught that uch ublimation i impoible; the Will wa untoppable. epite Skryabin' early acceptance of 'the Will' a a philoophical category, and it poetically aethetic applicability to the Fourth Sonata, he muically accepted the full impact of Schopenhauer' doctrine only in hi late tyle, leading Rimky to call Skryabin' later muic, "unmitigated tenion". 579 he Poem rife,:rta!)' offer a rare inight into Skryabin' grap of deire a a pychological concept. A mentioned, Skryabin tep forward a an author in the poetic text and pychoanalye the Spirit. Bower find thi elewhere in the text, "he quotation mark around the hortatory middle-ection i till the voice of the impalpable prophet (Scriabin the man-god a ectay) guiding the diembodied Spirit naked in it unheathed power." 580 hi move from the unconciou to the conciou i made more explicit by Swan: Scriabin' Ectay i the joy of unretrained activity. he Univere (the Spirit) i an eternal creation with no outward aim or motive- a divine play with world. However, the creating Spirit- the Univere at play- doe not himelf realie [my italic] the abolute value of creation; he ha ubjected himelf to a purpoe, ha made hi activity a mean toward another end. But the quicker the pule of life beat in him, the more rapid become it rhythm, the clearer it dawn on bim [my italic] that he i through and through creation alone- an end in itelf- that life i play. And when the Spirit, having reached the climax of hi activity, which i gradually tearing him away from the deluion of utility and relativity, will comprehend hi ubtance- an unretrained activity- then Ectay will arie. he Poem of Ectay i thu a ort of 581 comogony. Skryabin' own philoophy of Ectay in hi notebook bear thi trajectory from the unconciou to the conciou: "the moment of ectay top being a moment (of time). It engulf all time. It engulf all time thi moment i abolute being." 582 But in approaching the Ideal, thi ectay 'loe concioune' thu returning itelf to it previou tate: Like a man during the exual act- at the moment of ectay he loe concioune and hi whole organim experience bli at each of it point. Similarly, god-man, when he experience ectay, fill the univere with bli and ignite a fire. Man-God appear a the bearer of univeral. 583 concioune. he aim of the olipitic Spirit i to find a creative plateau of joyou enuality, but the underlying theme of the text i a potent mixture of Kant, Schopenhauer, Hegel and Fichte, philoopher who all 578 lbid., Bower, 'be New Saiabin: Enig111a and Anwer, 69. o Bower, Srriabin: A Biograpl!J 2, 130. SHI Swan, Scriabin, Bower, Saiabin: A Biography 2, Ibid., 105. Chapter ScYcn 290

294 recognied the problem of truggling toward the Ideal. o ome extent Fichte, with hi focu on the ubjective 'I' a a gateway to Kant' 'thing in itelf, wa Skryabin' greatet olipitic influence, in perfect accordance with Navali' 'magical idealim' which poited reality in the infinitely creative mind of the poet. A Hull ay of Skryabin: "He held that in the artit' inceant creative activity, hi contant progreion toward the ideal, the pirit alone truly live." 584 Striving occur in Schopenhauerian philoophy and Hegelian 'ialectical Materialit' philoophy a an inner drive-baed dicoure but the element of 'triving' in Skryabin' philoophy, however, doubtle came directly from Nietzche. A early a 1894, Skryabin wa delving into Alo prach Zarathutra, and it inceant preaching that 'mankind i omething which mut be overcome.' 585 Indeed, in Skryabin' notebook at the time we read the emotionally downcat young performer battling with hi hand injury, railing againt fate but determining that he mut overcome thi obtacle. But here a crucial difference between Skryabin' earlier Firt Sonata and the later ymphonic-poem emerge: the onata wa written with rage againt God for the injury; he i determined to defy God and heal himelf; in the Poem ofecta.ry, Skryabin i God. In a Nietzchean ene, Skryabin felt the need to overcome 'outer', 'ocial' truggle in hi early work, jut a the Spirit of the Poem of Ecta.ry think it i doing. But Skryabin ha evolved; he ha begun to realie from an 'outer' perpective that the Will (Schopenhauer) /force (Hegel) /drive (Freud) come from 'within': the drama i taged inide the olipitic mind. hi inner/ outer element of Skryabin' thought, and certainly of the poetic Poem ofecta.ry, i alo an element of the muic, where the true 'ego theme' (heme ) i called forth a an unconciou ubject, moving through the contrapuntal orchetral texture, ever-triving. We witne the ubject develop and produce polaritiethe whole dialogue take place 'within' the work' developmental tructure and everything which negate or challenge the developing ego ha occurred from within itelf. But thi knowledge of the ubject, and it voraciou imperative to truggle rather than ret, accord with the pychoanalyt who have known ince Schopenhauer that, a Lacan ay, "deire alway eek to go on deiring." 586 hi wa adopted by Skryabin and implanted into hi own philoophy: I can honetly affirm that I alway want omething... hi i the mot important and inflexible flic 587 tgn o te. he man who want nothing, definitely nothing, mut die at once. 5 ~ 8 Skryabin began to build uch idea into the ound he created. A Ivanov ay, "he muically recreated the movement of will, the firt timid trembling and ectatic delight of celetial pirit' bathing in the 5 ~ Hull, Saiabin: A Great fumian om-poet, 259. SHS Friedrich Nietzche, hu Spoke ZaratiJJi!ra, tran. R. J. Hollingdale (London: Penguin Book). SR6 Fink, A Clinical Introduction to Lacanian Pychoanalpi: heory and echnique, SH 7 Bower, Smabin: A Biography 2, 102. SHH Ibid. Chapter SeYen 291

295 univeral expane". 589 he Will, for Schopenhauer, wa equivalent to the Kantian thing-in-itelf and thi, in a pre-freudian environment, became heavily laden with dicuion of 'deire'; and thu the difference between 'deire' and 'drive' i the difference between the (mitaken) conciou and the unconciou. Self-awarene, although it occur in the textual poem a interjection from an external author, muically occur in the plagal cadence, the twit toward Nirvana, the negation of, and elf recognition-in-otherne of the unconciou drive-baed economy that characterie the mot immediate harmonic operation. he 'outer' cadence at the end of the work, which retreat from both the deirebaed and drive-baed economie, can only be the elf-awarene at the moment of dialectic apperception- the moment when the muic itelf realie that the drive cannot be ublimated, and that a perfect cadence would only confirm the drive' potency. It eem that Skryabin wa extremely quick to aborb Schopenhauer' exually charged writing on deire whilt planning the Myterium- hi "grandioe exual climax" that would reolve the world' tenion and lead to Nirvana. In hi lat year he tarted to prefer miniature to over-blown ymphonie, and with thi came a muical acceptance of Schopenhauer' acetic philoophy. hi led to a depiction of the pre-ymbolic realm of 'drive' in muic. Skryabin certainly felt that he wa conveying omething deeper than ymbolic language: hi enation can't be explained with word, can it?" he aked. "But it i made fully comprehenible in ound. Many mytical enation cannot be put into word at all, but can be tranmitted through ound. hat' why the path of the muician i eaier" 590 In Skryabin' diarie we find thi ad realiation of hi failure to lead the world to ectay, marking a point of reignation of hi whole ideology: So, I realized that I wa mitaken. If I recognied that the pirit created the whole world and he live in all I', then I am not alone. It i neceary to change everybody' view of the world in order for it to be changed. I am not able. 591 Whether Skryabin wa conciou of a philoophical change or not, hi muical tyle certainly embraced a realiation that a ubjective deire mechanim i ultimately a fale repreentation of the objective drive beneath it, and that what underlay the human condition wa actually unhaped, ever-hifting, libidinal drive energie flowing in and out of each other, each making demand on the ubject but refuing to be ublimated except through death.? Ivanov, Selider/E'fi!J: See (:h:ipte/ «3-roro onzy~ehhh BeAh HeAb3H paccka3ah Ci\OBa~>m, rrpabaa? - crrpauihbaa OH. - Ho OHO BIOJ\He IICHO 113 3BYKOB. l'vluorhe CH<JecKHe o~y~ehhh Hei\b3H paccka3ah B CAOBax, HO 3ByKaMH om1 rrepeaaiocji... Bo rro<jemy MY3hiKaHry IYh i\er'ie.» Sabaneyev, Vopominan!Ja 0 Skl) abine, onald Weitzel, 'Anatoly Lunarchky on Scriabin', Joumal of the Si7iabin Socielj ojamerim 8/1 (2004). 292 Chapter Se, en

296 Concluion hat Skryabin' compoitional tyle underwent a low metamorphoi i barely an original finding, but thi thei ought to illutrate that Skryabin' muical procee followed an aethetic change fully congruent with hi philoophical, pychological and cultural outlook. I have ued Skryabin' own writing and the tetimonie of hi companion to contruct an interchange of hermeneutically derived binary oppoition. he paage between thee oppoition tructure Skryabin' compoitional change. Yet the change wrought were not irreverible. Skryabin moved from compoitional form baed on a trajectory of drive to deire (mytic harmonie gradually unfolded into a ingle dominant -7 tonic motion) to one of deire to dritje (mytic onoritie became unfolded into their component part). But the former pattern till find a home in late piece in a different guie- i.e. Promethm, Op.60. hi change itelf wa a manifetation of a deeper move from maculine compoition to feminine compoition, but again thi manoeuvre wa not a one-way journey. In late piece, uch a Sonata no.6, a functionally rotational model drive the work from a deep mamline background, whilt a tatic,jeminine, octatonic middleground produce a mamline foreground of triving V 7 chord. In each of Skryabin' metamorphoe- drive-? deire, feminine -7 maculine, line -7 circle- hi old tyle contantly erve to dialectically balance hi new turn. Concurrent with the Ruian ymbolit aethetic, whoe logan wa coined by Bryuov- "the truth, once, poken, i a lie" - Skryabin ought to depict the Lacanian Real through the power of ymbol - maculine I feminine I light I darkne, etc. 592 And yet Skryabin' ego got in the way, a the paage quoted at the end of the previou chapter how. Realiing that a univeral climactic ectay wa impoible, Skryabin wallow in hi elf-pity. But in chooing to follow a career which evolved in tyle from one baed on deire to one rooted in drive, Skryabin actually uccefully created a muical tructure which cloely paralleled the Lacanian Real, more o than he eem to have recognied himelf, fixated a he wa on more grandiloquent project. In a ene we need Lacan to how Skryabin hi own ucce. Skryabin did not need an orgiatic Myterium to bringjouiance; Lacan how on the contrary that;ouicmce i found in the free activity of the drive. And Skryabin, in hi highly idioyncratic tyle, captured thi perfectly. hi i not to ay that Skryabin' earlier compoition, which encapulated deire, were in any way irrelevant; the ublimation of drive into deire i jut a real a proce to the human ubject a the activity of the unconciou beneath. And thu, at all tage of Skryabin' career, he wa a ucce by the light of hi culture. n Pyman, A Hi!OIJ' of Ruian Symbolim, 16. Chapter Sc, en 293

297 I ought to authenticate my finding by appealing to Skryabin' own recorded idea, and in o doing tried to bridge the gap between muical thought and other dicipline. In the final analyi however, one can remove thi bridge and till cro the gulf. Infinite trand of thought connect Skryabin' muic to Lacanian pychoanalyi; for example, Lacan' entire theory of phallic anamorphoi wa drawn direcdy from the Lithuanian poet J urgi Baltruai:ti' book Anamoprhoe. Baltruai:ti ( ) wa one of Skryabin' cloet ymbolit friend. 593 Kriteva, in turn, drew heavily on Skryabin' dialectical materialit companion a illutrated, creating a philoophical route into Skryabin' work. But uch interchange of idea, no matter how anachronitic, are alway jutified ince pychoanalyi trie to bring to light univeral idea, inherent in the human pyche, which naturally find conciou or unconciou expreion in art. A Julia Kriteva put it before analying the work of Skryabin' contemporary Ruian poet: Freud himelf conidered writer a hi predeceor. Avant-garde movement of the twentieth century, more or le unaware of Freud' dicovery, propounded a practice, and ometime even a knowledge of language and it ubject, that kept pace with, when they did not precede, Freudian breakthrough. 594 Such philoophical / pychoanalytical idea are deeply enhrined in Skryabin' muic and, only by extenion, hi text. And thu the main thrut of thi project ha been a new approach to the harmonic language of Skryabin. In thi, it real benefit lie only pardy in the analye that I have provided. Whilt my approach i bepoke to Skryabin, it i poible that it may repreent the approache of other 20'" century compoer who were trying to grapple with iue of deire in muic. rive anafyi work with onoritie that contain dominant element; thi can be found in the work of many compoer. Paage from early Schoenberg, even ection of Berg' Wozzetk could benefit from thi form of analyi. Stravinky too, particularly in hi octatonic earlier work, contruct muic around imilarly dominantrooted onoritie. ebuy, however, would be a le enible choice; hi muic, generally more triadic than eventh-baed, would reit drive anafyi in many cae. Of coure in thi wider arena, my Lerdahlderived taxonomy of drive would need to be revied, either by extenion - to cover all poible dominant functioned chord- or contraction - tailored to the pecific need of a work under conideration. But in any cae, the real value of dn"ve anafyi i that it cloely map many poible way of hearing a particular paage, without eizing only one particular route through a ound pattern and proclaiming it a gopel. he true gift of 20'h century muic i ambiguity, which analyt deperately try to uppre. In uing Lerdahl' theorie very electively, I have in effect propoed an 'anti-lerdahl' Lacan, he Four Fundamental Concept of Prychoanalyi, Julia Kriteva, eire in Language: A Semiotic Approach to Literature and A11 (New York: Columbia Univerity Pre, 1980), 26. Chapter ScYcn 294

298 Rather than turn the many face of an analyi inward and faten them tightly to a ingle interpretation, drive ana!ji more accurately unveil the many imultaneou interpretation that coexit. And in addition to plauible analye that are baed on 'realied' muical procedure -procedure which retropectively validate preliminary analyi- drive ana!ji chart 'implied' procedure. Often the implication found are not realied, but pulate nonethele, like the drive of the human ubject, in _?Q'h century mutc.. Chapter ScYcn 295

299 Bibliography M. H. Abram, he Mirror and the Lamp: Romantic heory and the Critiml radition, Oxford: OUP, 1971 M. H. Abram, Natural Supernaturalim: radition and Revolution in Romantic Literature, New York: Norton, W. Adorno, Philoop~y rifmodern Muic, London: Sheed & Ward, 1948 H. Antcliffe, 'he Significance of Scriabin', he Muical Quarterfy 10/3 (1924): J. M. Baker, he Muic rif Alexander Scriabin, New Haven: Yale Univerity Pre, 1986 J. M. Baker, 'Scriabin' Implicit onality', Muic heory Spectrum 2 (1980): 1-18 J. M. Baker,. Beach and J. W. Bernard, Muic heory in Concept and Practice, Rocheter, NY: Univerity of Rocheter Pre, 1997 N. Baker, "er Urtoffer Muik': Implication for Harmony and Melody in the heory of Heinrich Koch', Muic Anafyi 7/1 (1988): 3-30 G. A. Barborka, he Story qfhuman Evolution, Madra, India; Wheaton, Ill.: heoophical Pub. Houe, 1980 J.P Barricelli, Uzj' Journry through ante' Hereafter, Bucknell Review, XXVI, No. 2, 1980, R. Bartlett, Wagner & Ruia Cambridge: Cambridge Univerity Pre, 1995 G. Bataille, Eroticim, London: Penguin Book Ltd., 2001 G. Bataille, he ear rifero, San Francico: City Light Book, 2002 B. M. Belyayev, Muorgkti, Skryabin, Stravinkii, Mokva: Izdatel'tvo "Muzyka", 1972 H. Benjamin, Everyone' Guide to heoopf?y: A Simple Explanation rif the heoophiml eaching for the New Student, London: heoophical Publihing, 1969 N. Berdyayev, 'Regarding a Certain Remarkable Book (0. Weininger: Sex and Character)', Vopro.ry philoophii i pikhologii /98 (1909): ( _ 4.html- 04/02/06) A. Berger, 'Problem of Pitch Organization in Stravinky', Perpective rif Ne1v Muic 2/1 (1963): J. Bernard, 'he Principle Element: Rameau' "Controvery with 'alembert"', Journal rif Muic heory 24/1 (1980): H. P. Blavatky, he Secret ocl!im: he S)wthei rif Sdence, Religion and Pbiloopf!J, Paadena: heoophical Univerity Pre, 1999 K Bottge, 'Brahm' "Wiegenlied" and the Maternal voice', 151" Century M11.ric 38/3 (2005), Chapter ScYcn 296

300 F. Bower, he NewS criabin: Enigma and AnSJver, Newton Abbot, London: avid & Charle (Holding) Ltd, 1974 F. Bower, S criabin: A Biography 1, New York: over Publication, 1996 F. Bower, S criabin: A Biograpi!J 2, New York: over Publication, 1996 A. Bowie, Schelling and Modem European Philoopi!J: An Introduction, London: Routledge, 1993 C. Brower, 'A Cognitive heory of Muical Meaning',]ouma/ of Muic heory 44/2 (2000): M. Brown, 'Scriabin and Ruian Mytic Symbolim', Nineteenth -Century M11ic 3 (1979): 44 R. Browne, 'onal Implication of the iatonic Set', In heory On!J 5/6-7 (1981): Burn, he Iliad and the 'Stmggle for Recognition' in Hegel:r Phmomeno!ogy qfspirit, Univerity of Nottingham ( -12/06/05). M. Carlon, No Religion Higher han ruth: A Hitory of the heoophitwl Movement in &mia, Princeton, N.J: Princeton Univerity Pre, 1993 E. Carpenter, 'Scriabin' Octatonic Motive',]oumal of the Scriabin Socie!J of America 8/1 (2004): E. Carpenter, hematic evelopment and Continlli!J in the en Piano Sonata of Alexander Scriabin (MA: Kent State Univerity, 1972) A. P. Child, 'Moving Beyond Nee-Riemannian riad: Exploring a ranformational Model for Seventh Chord',]oumalqfMu.richeory42/2 (1998): S. Chritenen, Rameau and M11ical hought in the Enlightenment, Cambridge: Cambridge Univerity Pre, 1993 M.]. Citron, Gender and the Muim! Canon, Cambridge: Cambridge Univerity Pre, 1993 C. Clement, Opera, or the Undoing of Women, Minneapoli: Univerity of Minneota Pre, 1988 R. Cohn, 'A Wonderful a Star Cluter: Intrument for Gazing at onality in Schubert', 19th-Century M11ic 22/3 (1999): R. Cohn, 'Maximally Smooth Cycle, Hexatonic Sytem, and the Analyi of Late-Romantic riadic Progreion', Muic Ana!Ji 15/1 (1996): 9-40 N. Cook, A Guide to Muical Ana!Ji, London: ent, 1987 M. Cooper, 'Scriabin' Mytical Belief', Muic & Letter 16/2 (1935): ]. H. Couin, J. elville and N. K. Rerikh, lvo Great beoophij"t-painter, Jean e/ville, Nichola Roerich, Madra: heoophical Publihing Houe, 1925 S. Cuick, 'Gendering Modern Muic: hought on the Montiverdi- Artui Controvery',]o11ma/ q[he Amaimn M11icologica! Socie!J (1993): 1-25 C. ahlhau, Between Romanticim and Modernim, Berkeley: Univerity of California Pre, 1989 Chapter SeYcn 297

301 B. de Schloezer, Scriabin: Arti.rt and My.rtic, Oxford: Oxford Univerity Pre, 1987 G. eleuze and F. Guattari, Anti-Oedipu.r, London: Continuum, 1988 G. eleuze and F. Guattari, A holf.rand P!ateau.r: Capita!i.rm and Schizophrenia, London: Continuum, 1988 G. eleuze and. Lapoujade, wo Regime.r ofmadne.r.r: ext.r and Interoiew.r, , New York: Semiotext(e) ; London : MI Pre [ditributor], 2006 ]. elville and F. Colmer, he New Mi.r.rion of Art, a Stuqy ofldea!i.rm in Art, London: F. Griffith, 1910 V. ernova, Garmoniia Skriabina, Leningrad: Izd-vo "Muzyka", 1968 ]. errida, 'ifferance', MaJ,im ofphi!o.roply, Chicago: he Univerity of Chicago Pre, S. owne, he Mu.re a.r Ero.r: Mu.ric, Erotic Fanta!J and Male Creativiry in the Romantic and Modern Imagination, Alderhot: Ahgate, 2006 S. owne, 'Szymanowki and Narciim', Journal of the Rqyal M11.rical A.r.rociation 121/1 (1996 ): S. owne, S::rymanow.rki, Erotici.rm and the Voice.r ofmythology, Ahgate: RMA, 2003 L. EUrich, 'Negativity and ifference: On Gille eleuze' Criticim of ialectic', MLN 111/3 (1996): ]. Elworth, Andrry Be!J: A Cnfical Stuqy of the Novel.r, Cambridge: Cambridge Univerity Pre, 1983 B. Fink, A Clinical Introduction to Lacanian P!Jchoana!J'.ri.r: heory and echnique, Cambridge, Maachuett: Harvard Univerity Pre, 1997 M. Foucault, he Hi.rtory ofs exua!iry. VoL 1, an Introduction, Harmondworth: Penguin,_1981 S. Freud, Bryond the Plea.rure Principle: London, Vienna, 1922 S. Freud, he Complete Work.r q/sigmhnd Frmd, xiv, London: Hogarth Pre, 1957 S. Freud, he Complete Work.r of Sigmund Frmd, xxiii, London: Hogarth Pre, 1957 S. Friedrichmeyer, he Androgyne in Ear!J German Romantici.rm: Friedrirh Srb!ege/, Novali.r and the Metapf?y.ric.r oflove, Bern: Peter Lang, 1983 S. Garcia, 'Scriabin' Symbolit Plot Archetype in the Late Piano Sonata', 19th Century Mu.rir XXIII/No. 3 (2000): S. P. Garcia, Alexander Skryabin and RHJ.rian Symboli.rm: Plot and Symbol.r in the Late Piano Sonata.r (.M.A.: he Univerity of exa at Autin, 1993) R. Guenther, Varvara ernova'.r "Garmoniia Skriabina": A ran.rlation and Clitiml Commentary (Ph: he Catholic Univerity of America, 1979) R. J. Guenther, 'Varvara ernova' Sytem of Analyi of the Muic of Skriabin.' Rlmim1 'theoretical hought in Mu.ric. Ann Arbor, Michigan: UMI, Chapter SeYen 298

302 R. K. Gupta, 'Freud and Schopenhauer',joumal qfthe Hitory of Idea 36/4 (1975): Harrion, 'Bitonality, Pentatonicim, and iatonicim in a Work by Milhaud', Muic heory in Concept and Practice, ed. J. Baker. Rocheter, NY: Univerity of Rocheter Pre, Harrion, Harmonic F11nction in Chromatic Muic: A Renewed ualit heory and an Account of It Precedent, Chicago: Univerity of Chicago Pre, 1994 ]. Hepokowki, 'Maculine - Femine', M11ical ime 150 (1994): B. Hoeckner, Programming the Abolute: Nineteenth-Century German Muic and the Hermeneutic qf the Moment, Princeton, N.J.; \Voodtock: Princeton Univerity Pre, 2002 A. E. Hull, Scriabin: A Great Ruian one-poet, London: Kegan Paul, rench, rubner & Co., Ltd., Huron, Sweet Anticipation: Muic and the Pychology of Expectation, Cambridge, Ma.; London: MI, 2006 V.I. Ivanov, R. Bird and M. \Vachtel, Selected Eqy, Evanton, Ill.: Northwetern Univerity Pre, 2003 B. Jakobon, 'Scriabin Symphonie 1,2,3, Le Poeme e L'extae, Promethee ', 2001 (C , Booklet, 8) M. Jame, Frmd, Lacan and the Pychoana!Jtic rive: / drive.htm - 04/02/06 P. Kaminky, 'Ravel' Late Muic and the Problem of'polytonality", Muic heory Spectmm 26/2 (2004): M. Kelkel, Alexandre Soiabine: Sa Vie, L'eoterime Et Le Langage Muical an Son Oeut!f"e, Pari: Champion, 1984 I. Khannanov, &miatl Methodology ofmuical Form and Ana!Ji (Ph, Santa Barbara: Univerity of California, 2003) L. Kramer, Franz Schubert: Sexuality, Sui?fectiviry, Song, Cambridge: Cambridge Univerity Pre, 1998 L. Kramer, Muic a Cult11ral Practice, , Berkeley: Univerity of California Pre, 1990 H. Kreb, 'Alternative to Monotonality in Early Nineteenth-Century Muic',]o11rnal of Muic heory 25/1 (1981): 1-16 ]. Kriteva, eire in Language: A Semiotic Approach to Literat11re and Art, New York: Columbia Univerity Pre, 1980 J. Kriteva, he Kriteva Reader, New York: Columbia Univerity Pre, 1986 ]. Kriteva, Power of Hon-or: An Eqy on Aijection, New York; Oxford: Columbia Univerity Pre, 1982 ]. Kriteva, Revolution in Poetic Lang11age, New York: Columbia Univerity Pre, ;.:: ]. Kriten, & C. Clement, he Feminine and the Sacred, Baingtoke: Palgrave, 2001 Chapter SeYcn 299

303 E. Kurth, Em! K11rth: Selected Writing, Cambridge: Cambridge Univerity Pre, 1991 J. Lacan, Ecrit: A Selection, London: avitock Publication, 1977 J. La can, he Four rlmdammtal Concept ofp.rycboana!ji, London: Vintage, 1998 ]. Lacan, J. Mitchell and J. Roe, Feminine Sexuality: Jacque Lacan and the Ecole Frmdimne, New York: W.W. Norton, 1985 G. Lambert,' eleuze and he "ialectic" (A.K.A. Marx and Hegel)', Strategie:Joumal ofheory, Culture & Politic 15/1 (2002): S. Laron, 'A onal Model of an 'Atonal' Piece: Schoenberg' Opu 15, Number 2', Perpective ofnew Muic 25 (1987): J. Lechte and M. Margaroni,Julia K1iteva: Live heot)' New York: Continuum, 2004 A. Lemaire, Jacque Lacan, London: Routledge & Kegan Paul, 1977 E. Lendvai, Bela Bart6k: An Ana!Ji q[hi Muic, London: Kahn & Averill, 1971 E. Lendvai, Symmetn.e of Muic: An Introduction to the Semantic of Muic, Keckemet: Kodaly Intitute, 1993 F. Lerdahl, onal Pitch Space, Oxford: Oxford Univerity Pre, 2001 F. Lerdahl and R. Jackendoff, A Generative heory qfonal Muic, Cambridge: MI Pre, Lewin, 'Amforta' Prayer to iturel and the Role of in Parifal: he onal Space of the rama and the Enharmonic C/Bl>', 19th-Cenfu1J' Muic 7 (1983-4): J. F. Lyotard, Libidinal Economy, London: Continuum, 2004 H. Macdonald, Skryabin, London: Oxford Univerity Pre, 1978 M. Macfarland, 'ranpoitional Combination and Aggregate Formation in ebuy', Muic heory Spectrum 27 /'2 (2005): Mann, homa Man11 Preent the Living hought of Schopenhauer, London: Cael, 1939 K. Marx, Capital: London: Lawrence & Wihart, , 1977 R. E. Matlaw, 'Scriabin and Ruian Symbolim', Comparative Literature 31/1 (1979): 1-23 S. McClary, Feminine Ending: Muic, Gender, and Sexuality, Minneapoli: Univerity of Minneota Pre, 1991 A. McNamee, 'Bitonality: Mode and Interval in the Muic of Karol Szymanowki', Journal qfll1uic heory '29 (1985): L. B. Meyer, Emotion and lvfeaning in Muic; Chicago: Univerity of Chicago Pre, 1956 Chapter ScYcn 300

304 L. B. Meyer, Explaining Muic: Ecry and Exploration, Chicago: Univerity of Chicago Pre, 1978 L. B. Meyer, be Sphere ifm11sic: A Gathering ifecry, Chicago: Univerity of Chicago Pre, 2000 M.A. Miller, Freud and the BoLrhevik: P.rychoana!Ji in Imperial Ruia and the Soviet Union, New Haven: Yale Univerity Pre, 1998 M. B. Morri, Muical Eroticim and tbe ran.m:ndent Strain: he Work o}aiexander Skryabin, (Ph Berkeley: Univerity of California, 1998) S. Morrion, 'he Semiotic of Symmetry, or Rimky-Korakov' Operatic Hitory Leon', Cambridge Opera]ournal13/3 (2001): S. Morrion, 'Skryabin and the Impoible ',Journal ifhe American Muicological Sociery 51/21 (1998): E. Narmour, he Ana!Ji and Cognition if Baic Melodic Stmcture: he Implication-Realization Model, Chicago: Univerity of Chicago Pre, 1990 ]. Nattiez, 'he Concept of Plot and Seriation Proce in Muic Analyi', Muic Ana!Ji 4/1/2 (1985): ]. Nattiez, Wagner Androone: A Sturfy in Interpretation, Princeton, N.J.; Chicheter: Princeton Univerity Pre, 1993 A. Newcomb, 'he Birth of Muic out of the Spirit of rama: An Eay in Wagnerian Formal Analyi', 19th-Century Muic 5/1 (1981): R. Newmarch, he Concert-Goer' Ubrary if ecriptive Note 6, London: Humphrey :tvlilford, 1928 F. W. Nietzche, he Birth ifragerfy Out if the Spirit if Muic, London: Penguin, 1993 K.]. Peacock, Alexander Scriabin' Promethm: Philooplry and Strncture (Ph Michigan: Univerity of Michigan, 1976) G. Perle, 'Scriabin' Self Analye', MuicAna!Ji 3/2 (1984): G. Plekhanov, 'he Meaning of Hegel', Fourth International10/ April and May (1949): 119, / 04/02/06 G. Plekhanov, Fundamental Problem if Mar:x:im: London: Lawrence & Wihart, 1969 B. Pomeroy, 'ale of wo onic: irectional onality in ebuy' Orchetral Muic', Muic heory Spectrum 26/1 (2004): A. Pople, 'Skryabin' Prelude, Op. 67, No.1: Set and Structure',MuicAnab,i2/2 (1983): A. Pyman, Alekandr Blok: 'he we/tje', Newcatle: Univerity of urham, yneide Free Pre, 1989 A. Pyman, A Hitory ~(Ruian Symbolim, Cambridge: Cambridge Univerity Pre, 1994 A. Pyman, he Life ojaiexander Blok, Oxford: Oxford Univerity Pre, 1980 Chapter Se\ cn 301

305 \V Reich, he Function of the Orgam, London: Souvenir Pre Ltd., 1993 ]. Reie, 'Late Skriabin: Some Principle Behind the Style', 19th CenturyMuic6/3 (1983): L. Sabaneyev, Vopominanjya 0 Skryabim, Mocow: Claica XXI, 2003 L. Sabaneeff, 'A. N. Scriabin - a Memoir', Ruian Review 25/3 (1966): L. Sabaneyev, Modern Ruian Compoer, New York: a Capo Pre, L. Sabaneyev, 'he Seventh Piano Sonata, Op.64', Muzyka Week[y 64 (1912): P. Sabbagh, he evelopmmt ofharmo'!y in Saiabin' Work, USA: Univeral Publiher, 2003 ]. Samon, Muic in ranition: A S turfy of onal Expanion and Atonality, , London: ent, 1977 J. Samon, he Muic of S :rymanowki, London: Kahn & Averill, 1980 ]. Salaw, 'Force, Container, and Path: he Role of Body-erived Image Schema in the Conceptualization of Muic',Joumal ofmmic heory 40/2 (1996): H. Schenker, Harmo'!)', Chicago: U CP, 1906 (1968) A. Schopenhauer, he World a Will and Idea, London: J.M. ent, 2004 A. Scriabin, 'Poem of Ecta.ry' and 'Prometheu: Poem offire' in FullS core, New York: over Publication, Inc., 1995 M.A. Smart, Siren Song: Repreentation of Gender and Sexuality in Opera, Princeton: Princeton Univerity Pre, 2000 M. Spitzer, Muic a Philooplry: Adomo and Beethoven' Late Style, Bloomington, Indiana: Indiana Univerity Pre, 2006 A. Steinberg, Word and Muic in the Novel of Andny Befy, Cambridge: Cambridge Univerity Pre, 1982 ]. Stell, 'Muic a Metaphyic: Structure and Meaning in Skryabin' Fifth Piano Sonata', Joumal of Muicological Reearch 23/1 (2004): 1-37 A. J. Swan, Saiabin London: John Lane: he Bodley Head Ltd., 1923 K.]. Swinden, 'When Function Collide: Apect of Plural Function in Chromatic Muic', Muic heory Spectrum 27/2 (2005): E. arati, lvfyth and Muic: A Semiotic Approach to the Aethetic ofmyth in Muic, Epetialfy hat of Wagner, Sibeli11 and Stravinky: Mouton, 1979 R. arukin, 'Chernomor to Kahchei: Harmonic Sorcery; or, Stravinky' "Angle"',joNrnal ofhe American Muicologiml Sodery 38/1 (1985): R. arukin, 'Review: "he Muic of Alexander Scriabin", Jame M. Baker & "Scriabin: Artit and Mytic", Bori de Schloezer', Muic heory Spectmm 10/10th Anniverary Iue (1988): Chapter Se, en 302

306 R. arukin, 'Scriabin and the Superhuman: A Millennial Eay', efining &tia Muicai!J. Princeton Univerity Pre, emperley, 'he Line of Fifth', Muic Ana!Ji 19/3 (2000): (31) P. Van den oorn, Stravinlry and tbe Rite of Spring: he Beginning q/a Muical Lang11age, Oxford: Oxford Univerity Pre, 1987 M. Wachtel, Ruian Symbolim and Literary radition: Goethe, Nova/i and the Poetic of Vyache/av ItJanov, Wiconin: Univerity of Wiconin Pre, 1994 C. Wai-Ling, be Late S criabin: Pitch Organiation and Form in the Work of (Ph Cambridge: Cambridge Univerity, 1991) C. Wai-Ling, 'Scriabin' "White Ma": ialogue between he "Mytic" And he "Octatonic"',Jouma/ of the Scriabin Sociery ojamerica 5/1 (2001): Weininger, Sex & Charatter, New York: Howard Fertig, Weltzel, 'Anatoly Lunarchky on Scriabin',Jouma/ q/ the Scriabin Sociery q/ America 8/1 (2004): ]. Wet, &mian Symbolim: A Sturfy ofvyache/av Ivanov and the Ruian Symbolit Aethetic, London: Methuen, 1970 R. Willmann, 'Alexander Skryabin' Sixth Piano Sonata, Op. 62',Jouma/ of the Scriabin Sociery of America 8/1 ( ): M. Yanovitky, 'Scriabin Etude, Op.8 a a Set',Jouma/ of the Scriabin Sociery of America 7/1 (2002): S. Zizek, Looking Awry: An Introduction to Jacqm Lacan through Popular Culture, Cambridge, Ma.: MI Pre, 1991 Chapter ScYen 303

307 Appendice A-F: Graphical Analye eire and the rive: A New Analytical Approach to the Harmonic Language of Alexander Skryabin l(enneth Smith Univerity of urham hei Submitted for the egree of Ph 2008

308 ' 'i [pc] C major ecription [1,5,7,11] GBmF [3,5,7,11] GB#F [2,5,7,11] GBF [1,5,7,10] ammr [2,5,8, 11] BF A~ [3,7,11] GB# [5,7,11] GBF [2,6,7,11] GBF# [2,5,11] BF [2,7,11] GB [2,6, 7, 10] GBI>F# [2,5,7,10] GBI>F [5,11] BF [2,5,7] GF [5,7] GF [0,4,7] CEG [0,3,7] CE~G [0,3,4,7] CBEqG ominant-eventh chord with a diminihed fifth ominant-eventh chord with an augmented fifth Pure dominant eventh chord imimhed chord with additional eventh ('ha!f diminihed') Full diminihed eventh chord A three-wqy drive compried of mqjor third. On!J charted if orthographically or contextual!:; pecific Implicit dominant-eventh chord; omitted fifth 'Mqjor eventh' chord iminihed triad. On!J charted if orthographically or contextual!:; pecific Pure triad. On!J charted if it act a a clear V Minor chord with an additional 'mqjor eventh' Minor eventh chord Pure tritone drive. Mqy reolve in two direction, but on!j charted if contextual!:; implicit of tronger drive ominant-eventh chord; third omitted A pure eventh. A very weak drive, but one that can be contextual!:; trengthened. Not uuai!j charted Pure!J articulated onic mqjor chord Pure!J articulated onic minor chord onic mqjor / minor chord Ba tone. Often overlap the other!jimbol, repreented ry the charaderitic black border. Foreground Pitch icharge. Often a very mall-cale dicharge involving one or two individual pitche. Key to Appendice A - F

309 Appendix A: eir, Op.57 12

310 ;- Appendix B: Caree danee, Op.S7

311 o F# -I- I- B E A G c F GP :;;: Appendix B: Caree danee, Op.57 (cont.)

312 # I I i G# C# F# B E A h 'n.. 'n m1 I I I I I I I I. I I I v N I.;.,,... G......u. I I I I Ifill 6 II 0,... C l I I I I I I I I I I I I I,... ' I I I I I I I I I I I ~ F l! I I m H Al1 l1 Gl1 0 < Appendix C: Sonata No.6, Op.62

313 I I I ~ - I ~-1 C# l I I F# B E A I I I I I I I I I I I I I I I I I c F G (f) S S < Appendix C: Sonata No.6, Op.62 (cont.)

314 #l G# C# ~-- --,--- I I I I I! I I I I I I I I I - - ~-' F# I I I- t--+ I I I I I I I I I B E A G c F m H I,- -I A~ ~ G~ 0 (S) I I I I I I I I I I I I I I I I I < Appendix C: Sonata No.6, Op.62 (cont.)

315 ~ ,- G~ C# F# B E A G c,r F -r---11 EP t 1... I I I I 1--r- --r - r- A I I I I I I I oj I I I I I I I I I () I I I I I I I I I I I I I I I I I I I I I I I < Appendix C: Sonata No.6, Op.62 (cont.)

316 I - ~ G~ C# F# B E A G c F m E Al7 l7 G!7 0 H () I I I I I I I I I I Appendix C: Sonata No.6, Op.62 (cont.) ><

317 F# B E A G c F BJ, H Ail Gil 0 () Appendix C: Sonata No.6, Op.62 (cont.) ><

318 # G# C# F# B E A G c F BP Eb AP P GP 0 () I : I I I I I I I I I I I I I >< Appendix C: Sonata No.6, Op.62 (cont.)

319 # ~-- G# C# F# B E A G 0 () ;>< Appendix C: Sonata No.6, Op.62 (cont.)

320 f G# c~ r~r F~ B E A G c F m H Al7 l7 Gl7 0 - () i I I I I I I I I I I I I I I I I I I I >< Appendix C: Sonata No.6, Op.62 (cont.)

321 # G# C# F# B E A G c F BP EP AP P GP 0 H (S) () I X <' Appendix C: Sonata No.6, Op.62 (cont.)

322 C# I -+- ' ,, I EASERN F# B E A I G c F BP I -+- f-+-.. I ~--+- >< < Appendix : Sonata N o.l 0, Op. 70

323 EASERN ~~~N6~H ][~ERN [[ NO~~RN o B E A G c F B E 0 S S S S S S S S S S S S S S S S (f) ~ :::. Appendix : Sonata No.10, Op.70 (cont.)

324 NORH I ~ --f:g_---~ _--~- : ~ F#l ; : 1 L. r Bl - I El I -.._.._ A. ~.. ; i 1 ~ ~ ~ r -~ -l t 1 t M I i ~- r I ~ r t t-- ' ~- ~ -,.-- - ~ - t-- 1" t +... uy_} -~ -~~-~ JJ r (S) S ~ ~ S i S S S X < Appendix : Sonata No.10, Op.70 (cont.)

325 ~ - ~ r- ~ 1 - I ~... l r... j. - - ~ I ' r 1 l j.... j! - _t ~ f-- [ ' '. - ~ - I Bw.~ ~ - r--1 - hll~ - h ~ - - l E 1 A G c F E EJ, Al1 J, GJ, oj t- ; t t ~ j S S S S S S () >< < Appendix : Sonata No.10, Op.70 (cont.)

326 G ,- - I I I ~-.- f [-EASERN I [SOUH I ~~ G c F - ~- I I I"'- r I., r l - - r -L I l -, I I ::I () -~ I --+ I I I I I I I >< ;;( " Appendix : Sonata No.10, Op.70 (cont.)

327 [ NORHERN II WESERN I I NORH II WES II SOUH i -! L- J. E A I --- -~- ~ - t ~ :1 ---lq_ I~. I I LJ. J- -U l j -1-~ --W- -l F ' t 0 () S >< >< Appendix : Sonata No.10, Op.70 (cont.)

328 1 SOUH II EAS ---] ,- --,- --r- - ~- I,. 213 F# B E A I ----r-----1" ~ I,, ~ ;..' ---l ! ~ I I I I. j I ' ' L l J l L t- ~ ---r-' I r --Lf r- ~ G c F -! _ L ) l I I I ~~.! B~ l -. (f) X X Appendix : Sonata No.10, Op.70 (cont.)

329 ~ ~ I EASERN II NORH II EASERN I () S S S :>< :>< Appendix : Sonata No.10, Op.70 (cont.)

330 I NORHERN I F~ () X X Appendix : Sonata No.10, Op.70 (cont.)

331 ~ ~ < (f) Appendix : Sonata No.lO, Op.70 (cont.)

332 r ,---,---,---,--,---, ,---,--,,--,---,---.--,----,---, C# 0 () >< >< < Appendix : Sonata No.10, Op.70 (cont.)

333 X X < 0 () Appendix : Sonata No.lO, Op.70 (cont.)

334 A G () >< >< ::. Appendix : Sonata No.10, Op.70 (cont.)

335 G ;><: Appendix E: Ver Ia Flamme, Op.72 ;><: ~.

336 >< >< ~ (S) ~ S Appendix E: Ver Ia Flamme, Op.72 (cont.)

337

338 ff c~ F~ B E A G c F m H A~ ~ Q.) '"' Q.)...c::... c: c:<j "'0 c: ;:l "'0 Q.) '"' <I) Q.) 6 0 u Q.)..0 - ~ ~ ;:: ""\ "' ;::. ~ 0 G~ 0 ( ) i I I I I I I I I >< >< >< Appendix E: Ver Ia F!amme, Op.72 (cont.)

339 C# F# I I I ~ 1 I I ' B E A F S >< >< >< Appendix F: Poem ojecta.ry, Op.54

340 () X X X Appendix F: Poem ojecta.ry, Op.54 (cont.)

341 c F# I I I I I I I I I I i ~ B E c S (S) >< >< >< < Appendix F: Poem ojectay, Op.54 (cont.)

342 A G 0 (f) I I I I I I I I I I I X X X < Appendix F: Poem ofectary, Op.54 (cont.)

343 F# B E A G c F I r EP Gil 0 () S X X <: Appendix F: Poem ofectary, Op.54 (cont.)

344 X X X ~. B E A () f- ~ r::......j I I '...J w l----1f Gi 0 Appendix F: Poem of Ecta!)l, Op.54 (cont.)

345 ? r c~ t- ~ F#l I I 1--t B G c F Bb () >< >< >< ::5. Appendix F: Poem ojectary, Op.54 (cont.)

346 >< >< >< ;;:( ' F B (f) Appendix F: Poem ofecta!)', Op.54 (cont.)

347 >< (f) Appendix F: Poem of E cta!)', Op.54 (cont.)

348 X E A (S) S Appendix F: Poem of Ecta!)', Op.54 (cont.)

349 G#l -+- C# B I --r E A G c F 0 () >< Appendix F: Poem ojectary, Op.54 (cont.)

350 G~ I I c~ I I F# 1-!---+--t--r----t B E A G c F Gil G () S S >< - Appendix F: Poem ofecta.ry, Op.54 (cont.)

351 G# C# F# B E A G c F BP E AP P GP () I I I I I I I ~ :;;: Appendix F: Poem ofecta.ry, Op.54 (cont.)