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Scriabin Fantasy in B minor, Op. 28

Pianist, Elizabeth Low SCRIABIN Fantasie in B minor, Op. 28 (1900) Despite the implications that a ‘fantasy’ is entailed to freedom and improvisation, Scriabin’s masterpiece suggests otherwise, an effortless sonata-allegro form. The simple identification of the lyrical melodies does not do justice to the complexity of the piece, as the profoundness of it lies within the virtuosity of its writing and the endless overlapping meanderings of the inner voices. In fact, this Fantasy alone features some of Scriabin’s most complex writings. The extremely dense textures competing against single line melodies, the collision between the two hands and voices, and the simultaneous displacement of notes both in the accompaniment part and the melody. The complexities of the piece are often difficult to grasp — Scriabin himself took an ambiguous amount of time to complete this work, and according to Leonid Sabaneyev, a musicologist who worked closely with Scriabin, forgot the existence of this work for a certain period of time. The equivocal introduction of this piece is the perfect set up that bleeds into one of the most breathtaking and heartwarming melodies ever written, only repeating twice throughout the entire piece — the second time with undercurrents leading to an explosion of colours, accompanied by the trembling basses and repeatedly clamouring chords. Towards the end of the piece, an elaboration of the main theme builds up to the final surges and heroic crashes of chords, much like heroic waves crashing onto ferocious rocks of a grand canyon.