The grand Waltz of Scriabin, considering the earlier ones are unpublished pieces from his youth and the later Quasi Waltz Op.47 has little to no link anymore with the Waltz tradition. Echoing Chopin and Liszt (Valse-Impromptu S.213) with even more luminous and refined harmonies, full of shimmering, just like Ravel’s Valses nobles et sentimentales, “The Waltz of all waltzes.” Despite the modernity, it is by far Scriabin’s most romantic piece of this period.

The work embodies one of Scriabin’s strongest components: liberty. The melody immediately opens in quartolets (over the three-time bass) and offers a direct sense of rhythmic fluidity. This rhythmic diversity announces his new manifesto: that dances are no longer danceable pieces, but musical and spiritual ones—an idea confirmed in the even more abstract Two Mazurkas Op.40.