Longest piece of all Scriabin’s production, divided into three movements preceded by an introduction:

Introduction : Lento
Mv.1 : Luttes
Mv.2 : Voluptés
Mv.3 Jeu Divin

Last milestone for Scriabin in the classical form (excluding the later sonatas, but with a totally renewed scheme). No later pieces will exceed the length of 20 minutes. The three movements are blended together by leitmotivs and are meant to be played without pauses in between. This highlights Scriabin’s new artistic vision of no longer separating the movements of a piece but constructing them as one single drive, as the Sonata No.5 and Symphonie No.4, both in one movement, will prove. Additionally, from then on he stopped marking indications with Italian terms and used French instead, with indications gradually becoming more poetic and metaphorical: “languid, ecstatic, with great voluptuousness…”

This work shares the same narration and philosophical view as the Sonata No.4 Op.30: The evolution of a tormented man’s spirit through its full benediction, realizing his unity with the universe, forgetting his knowledge and pains in order to reach total and jubilant liberty. Just as with the Sonata, the descriptive program was only written after the composition and serves as a guide rather than a script.

The piece echoes the most narrative composers in orchestral writing (Liszt, Berlioz) as well as the harmonically innovative ones (Wagner, Debussy, Stravinsky) with post-romantic and almost sensual impressionist colours. The first movement is luminous, moving, and already glorious. The second is seducing, mysterious. The last movement, with a full choir, is a bursting joy full of energy, exalting in a radiant C major chord analogously to the Symphonie No.2.