ABSTRACT
This work, an inspired study in octave, chordal, and wide-leap techniques, gained instant popularity soon after its publication in 1895 and remains among Scriabin’s most popular piano compositions. Two versions of the Etude exist, both of which Scriabin sent to the publisher, Mitrofan Beliaev. Beliaev chose one and published it in 1895; the other version appeared as an appendix in the complete edition of Scriabin’s piano works (Moscow: Muzgiz, 1947). The main difference between the two variants is that the second, less-known version has different dynamics in the last six measures. In the second version, at the end of m. 50 Scriabin introduces dim. that leads to p in mm. 51-52, followed by cresc. at the end of m. 52. The first chord in m. 54 is played ff, but the concluding two chords unexpectedly sound p, which, in my view, brings the piece to a stylishly sad closure in place of a more conventional bravura ending.
