And it is only in these later pieces that he achieved the perfection of
form, particularly of the sonata form, of which the Ninth Sonata is the
magistral example, and which makes his craft comparable to Bach's in
its mastery of a medium, and enables one to mention the "Chromatic
Fantasy and Fugue" and the Ninth Sonata justly in a single breath. And
yet, the compositions of the middle period, the one that follows
immediately the early, immature, Chopinesque period, are scarcely less
rich and refined, scarcely less important. No doubt the influence of
Scriabine's masters, though considerably on the wane, is still evident.
The "Poeme satanique" refines on Liszt. The Third Sonata, despite its
lambent andante, is patently the work of one who has studied his Liszt
and loves his Chopin. And yet, these works are characteristically male
and raging and proud. And in all the works of this period there appears
something new and magnificent that has scarcely before informed piano
music. There is a truly Russian depth and vehemence and largeness in
this now languid, now mystical, now leonine music, that lifts it
entirely out of the company of the works of the Petrograd salon school
into that of those composers who made orchestra and opera speak in the
national tongue.
Pages:
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187