Talk:Piano Sonata No. 6 (Scriabin)

Themes

If my count some years ago was accurate, it has 386 bars. I'd like to make some samples of themes of this work and a few other Scriabin sonatas, preludes and etudes (esp. the sonatas, for possible formal analysis or just placement of oneself in a piece), but the fact that the copyright may have descended if not to Dover then to whoever now owns Muzyka's copyrights (and that would be!) prevents, of course. Will write Dover first, though... Schissel | Sound the Note! 16:05, 15 October 2006 (UTC)

Note : IMSLP provides access to the first-edition scores which are well out of copyright, though it's been 17 years :) ELSchissel (talk) 21:54, 11 May 2023 (UTC)

Rewrite: NPOV

Someone should rewrite or delete this article, its mostly opinionated things regarding emotions felt during listening, not an actual description of the piece or its construction.

Please sign your posts on talk pages per Wikipedia:Sign your posts on talk pages. Thanks! Hyacinth (talk) 17:30, 7 January 2008 (UTC)

Contradiction

The proclamation that the Seventh Sonata precedes the Sixth contradicts the former's own Wikipedia entry, which claims Scriabin wrote the Seventh in response to the Sixth's demonic qualities. Ashkenazy's liner notes are cited, as they are here.—Preceding unsigned comment added by 98.173.239.3 (talk) 01:35, 6 September 2009 (UTC)

Quite true. Ashkenazy's liner notes are full of odd statements though. I will consult Taub's liner notes and see what should be fixed. --Steerpike (talk) 16:21, 6 September 2009 (UTC)

... Please no. Instead of relying on program notes, surely someone has seen the almost-complete autographs or an edition based on them. Primary sources are possible here, so are preferable! ELSchissel (talk) 21:52, 11 May 2023 (UTC)

"although it is sometimes listed as being in the key of G."

Someone seems to have gone to the trouble of assigning keys to the at most locally-tonal (so to speak) sonatas 5-10, which is one of those efforts that provokes the question "Why??" The works are none of them centered overall on a key, these keys applying at most, afaik, to the last few bars of each- which is getting things donkey backwards (keys of large-scale works are usually assigned from the tonal centers of the early sections of the work (for multi-movement works) and considerations of how the chords relate to each other (when this applies), but not its concluding bars, or else has anyone referred to Mahler's 7th symphony in C or 9th symphony in D-flat recently?... edit: or perhaps better example, Allan Pettersson's symphony no.13 in, no doubt, D-flat, or his symphony 15 in F-sharp major (which chord it ends on, in the middle of a C major scale). Again, though those works are not fully non-tonal, no one would think of assigning keys to them, either- oh, wait.) ELSchissel (talk) 21:59, 11 May 2023 (UTC)