Abstract
In Scriabin's Prelude Op. 22, No. 2, published in 1897, register unleashes a conflict between phrase rhythm and voice leading. A four-measure prototype is first established; a registral singularity within the prototype forces a phrase expansion in the second half of the piece. This deliberate conflict reveals a sophisticated compositional voice and helps us appreciate the artistry of Scriabin’s style in his early piano works.
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