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

Abstract

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