Nomenclature
The term "mystic chord", appears to derive from Scriabin's intense interest in Theosophy, and the chord is imagined to reflect this mysticism. It was coined by Arthur Eaglefield Hull in 1916.
It is also known as the "Prometheus chord", after its extensive use in his work Prometheus: The Poem of Fire, Op.60. The term was invented by Leonid Sabaneyev.
Scriabin himself called it the "chord of the pleroma" (aккорд плеромы - akkord pleromy), which "was designed to afford instant apprehension of -that is, to reveal- what was in essence beyond the mind of man to conceptualize. Its preternatural stillness was a gnostic intimation of a hidden otherness."
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