Three Underrated Scriabin Etudes
Op. 8 No. 4
This short etude evokes the feeling of relaxing by a pond filled with blooming water lilies in summer. It serves as a study for the challenging 4/3, 5/3, and 5/4 polyrhythms that frequently appear in many of Scriabin’s other works. These polyrhythms create a unique texture that is deeply satisfying to listen to. Additionally, the piece offers the performer an opportunity to bring out hidden voices and shape the top melody in distinct ways throughout certain sections. There’s also plenty of room for expressive rubato. The melody in the middle section, in particular, is especially sweet and delicate.
2. Op. 8 No.9
This etude opens with galloping octaves that evoke the image of a sprinting horse. The A section unfolds in short, energetic phrases that end with a flourish, as if the horse is accelerating with each stride. The slower middle section feels completely different; at first, I even thought the etude had ended after the initial A section. This lyrical middle part provides a beautiful contrast. But soon, the tempo picks up again, leading to a satisfying recapitulation of the A section as the octaves resume their galloping. This etude is a true test of a pianist’s octave technique, while Scriabin still leaves plenty of room for rubato and subtle dynamic nuances.
3. Op. 42 No. 4
Appearing just before the mammoth No. 5 in the set, No. 4 is arguably one of Scriabin’s easiest etudes technically. However, it is exceptionally beautiful and demands subtle touches to achieve dynamic and temporal perfection. The wavy texture creates a gentle oscillation, entrancing both the pianist and the listener. As a work from Scriabin’s middle period, the highlight of this etude lies in its harmony, striking a perfect balance between consonance and dissonance. It’s a shame that this lovely little piece is often overshadowed by the titanic No. 5.
