19 CLÉMENT LEFEBVRE If the Impromptus offer us the beauty of pianistic sound, like those of Chopin, doesn't this sonata have an orchestral dimension? His writing is not at all pianistic in places, and Scriabin goes far beyond the instrument with it, even beyond the orchestra. It has a sound, a very interior atmosphere that escapes materiality. Its intangible poetry emanates from the plasticity of its sound matter, which may seem contradictory to his words recorded in one of his notebooks: ‘The more poetic something is, the more real it is’. But his notion of reality is not ours, it is not based on the concrete! In this sonata, which still bears some traces of Chopin, a new influence emerges. Scriabin opens up a wider field of possibilities: He enlarges the sound space, the harmonic treatment, introduces the motivic leitmotif by recalling the initial theme between the third and fourth movements, uses ultrachromaticism in the finale where we find the theme of the andante, itself conceived as an unlimited line... so many Wagnerian elements, essential markers of this sonata in my opinion.
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