The appellation "Black Mass," also used by Scriabin, originated with his friend, the stage actor and pianist Alexei Podgaetsky. Scriabin stated: "This Ninth Sonata is utterly reckless; there is a terrible demon in it..." He also said, "In the Ninth Sonata, I have dealt with the demonic more deeply than ever before—there is true evil in it."

Although the framework of sonata form is discernible in this sonata, it is greatly transformed. A gradual acceleration is indicated from the development section onwards, and the recapitulation deviates from a faithful restatement of the exposition, with the entire piece building towards a final climax, gradually intensifying.

In the exposition, the first theme (measures 1-10) and the second theme (measures 34.3-42) exhibit contrasting characters: evil (the former) and sacred (the latter). In the development section (from measure 69), the "sacred" second theme briefly reveals a brilliant appearance with embellishments, but it gradually becomes corrupted as it alternates with the "evil" first theme and incorporates motives from the first theme. The recapitulation (from measure 155) begins with a cascading descending figure (a motive from the first theme), and under the indication "Alla marcia," the transformed second theme is repeated (Scriabin described this passage as "desecrated holy relics"). After reaching the peak of frenzy with "Plus vivo" and "Presto," the piece concludes by fading away with the opening motive.