Structure
The piece is written in sonata form with an introduction. The structure of the work is described in the table below:
| Section | Subsection | Excerpt | mm. | Description |
|---|---|---|---|---|
| Introduction | 1 | 1-12 | The sonata begins with an introduction. Its first part consists of an agitated theme, marked allegro-impetuoso-con stravaganza. It features trills and glissandos, and ends in an agitated ascending rush followed by a pause. | |
| 2 | 13-46 | A second theme follows at m. 13, marked languido. | ||
| Exposition | First theme | 47-95 | The exposition commences at m. 47. The first theme, marked presto con allegrezza is in F♯ major and set in binary form. The first half begins with a 6-bar phrase (harmonized as dominant eleventh chord) followed by the same prase transposed a fourth higher (harmonized with a C♯ minor seventh chord). After this, a 4-bar and a derived 5-bar phrases. The second half (mm. 69 ff.) begins as A but now over a tonic pedal. After reprising the first 12 bars, a series of shorter phrases bring more agitation to the passage, leading to the transition passage. | |
| Transition | 96-119 | The transition begins at m. 96, and consists of three 2-bar motifs. It gradually moves from the initial C♯ major tonality to the Bb major tonality of the second theme. The first motif is marked imperioso . The second is marked sotto voce misterioso affanato. These two motifs are presented alternatively three times, then, the second is prolonged and bursts in a third 2-bar motif marked quasi trombe-imèrioso. A dominant ninth chord prepares the entrance of the second theme. | ||
| Second theme | 120-139 | The second theme begins at m. 120. It is marked meno mosso, is in B♭ major and also set in binary form. The first half begins with a chromatic phrase built over a dominant chord. The second (mm. 134 ff.) quotes the first but now over a tonic pedal. | ||
| Codetta | 140-165 | The codetta follows at m. 140, interrupting the second theme. It consists of three motifs. Fist, a new 2-bar motif, marked allegro fantastico, followed by a longer idea, marked presto tumultuoso esaltato, which is stated twice. It concludes with a shortened version of the trill theme transposed a major second up. | ||
| Development | 1 | 166-184 | The development at m.166 begins presenting the first 17 bars of languido theme transposed a major second up. | |
| 2 | 185-226 | The development section follows with an episode featuring the first theme, which is "interrupted" several times by the imperioso motif. | ||
| 3 | 227-270 | The next section features materials derived from the coda and the introduction. First, the presto tumultuoso esaltato is developed. The trills theme is briefly quoted(mm.247-250). Then, the languido theme is mocked (mm.251 ff.). | ||
| 4 | 271-288 | At m. 271 fragments themeno mosso theme appear. First, it is partly stated twice, and then, it is interruopted twice by the allegro fantstico theme. | ||
| 5 | 289-312 | At m. 289 the allegro fantastico motif succeeds over the meno mosso theme, and a passage built over this motif begins, creating increasing tension. | ||
| 6 | 313-329 | At m. 313 the allegro fantastico passage burst in a climax based on the meno mosso theme. The four-bar phrase is stated three times, each one a fifth lower, first in D♭ major, then in G♭ and finally in B. However, the expected final climax is interrupted by the reexposition of the first theme in pp. | ||
| Recapitulation | 329-400 | The exposition (second half of the first theme, transition, second theme) is repeated note-for-note transposed a fifth down. | ||
| Coda | 401-457 | The coda is modified so as to lead to a climatic fff statement of the languido theme, followed by the ascending rush of the first musical idea. |
Read more about this topic: Piano Sonata No. 5 (Scriabin)
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