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Home > Scriabin, Alexander > Waltz f-moll

Scriabin, Alexander : Waltz f-moll Op.1

Work Overview

Music ID : 2548
Composition Year:1885 
Publication Year:1892
First Publisher:Jurgenson
Instrumentation:Piano Solo 
Genre:waltz
Total Playing Time:3 min 10 sec
Copyright:Public Domain

Commentary (2)

Author : Yamamoto, Nao

Last Updated: July 10, 2023
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This work was composed by Scriabin in 1885, when he was 13 years old. It was written during a period when he was studying composition with Sergei Taneyev in 1885 and also composing works such as the Nocturne, WoO 3. It was subsequently published by Jurgenson in 1892, shortly after Scriabin graduated from the Moscow Conservatory. Although the publisher later changed, due to support from Mitrofan Belyayev, among others, works such as Piano Sonata No. 8, Op. 66, were again published by Jurgenson in 1913. This work, structured in ternary form, features pianistic melodies, passages with double stops, repeated cluster chords, and a triple-meter rhythm in octaves, concluding in F major.

Writer: Yamamoto, Nao

Author : Yamamoto, Nao

Last Updated: July 10, 2023
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Performance Tips

This piece flows with a consistent 3/4 waltz rhythm, but the difficulty lies in the double stops that appear in both hands.

At measure 13, double stops of fourths and fifths appear alternately. Here, the author refers to fingerings 2-4 and 5-1, as presented in the Shunjusha edition of 'Scriabin Complete Works Vol. 7'. However, since it is difficult to maintain balance, ensure that the melody maintains a consistent dynamic level. From measure 69, double stops are added to the left hand, but these should be treated as accompaniment rather than melody. At measure 77, descending double stops of sixths and fourths appear in the left hand. I believe these are expressed polyphonically by intertwining with the right-hand melody, rather than merely serving as accompaniment. Furthermore, when playing this left-hand part, be mindful of the upper voice.

Writer: Yamamoto, Nao
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