A work Scriabin particularly loved and frequently performed in concerts. He called it the “White Mass,” finding in it a magical power akin to that in Mysterium and Prometheus, a power to elevate the listener to a higher state of being.

This sonata (single movement) is also written within the framework of sonata form: exposition (mm. 1-76), first development (mm. 77-168), recapitulation (mm. 169-236), second development (mm. 237-272), and coda (mm. 273-343). Similar to Prometheus, this sonata is believed to depict a cosmic process, based on the composer's theosophical worldview, in a manner that aligns with its formal divisions. Simply put, this process is that “all things originate from the One and eventually return to it.”

The majestic first theme at the beginning, like the theme first played by the solo piano in Prometheus, serves as the protagonist that undergoes the entire process depicted in the piece. Its repeated chords are said to be “bell sounds” that summon the peoples of the world to a sacred mystery.

According to the composer, the second theme (“with heavenly joy,” mm. 29-33) is “devoid of sensuality or lyricism” and “pure mystery,” and is soon enveloped by various transformations of the second theme (symbolizing “dark clouds” and “flight”). The arpeggiated motif appearing at the end of the exposition (mm. 73-74) is, according to Scriabin, a “fountain scattering sparks.”

While the piece develops around these musical figures, the recapitulation deviates from a literal “recapitulation,” with the figures surrounding the themes transforming. The first theme (“electric”) is accompanied by furious accompanying figures, sharp rhythmic motifs (associated with the expression of “lightning”), and augmented “bell sounds,” and the motifs that envelop the second theme (transformations of the second theme) also undergo metamorphosis. In the second development, both themes undergo further transformations, and the radiance (furious accompanying figures, ornamental figures, etc.) and “bell sounds” intensify further.

The Presto coda (“dizzying”), according to Scriabin, depicts “the sacred final dance on the verge of dematerialization,” where various musical figures appear as light rhythmic transformations. Eventually, a “dazzling radiance” is depicted, centered around the “spark” motif (which appeared at the end of the exposition), leading to a peak of ecstasy, after which the piece concludes with a pianissimo passage (a transformation of the second theme), seemingly dissolving into “the One.”