If one can point to a consistent characteristic in Scriabin's preludes, whose composition spanned from 1888 to 1914, it is brevity; most of the individual preludes are no longer than one and a half to two minutes. The Six Preludes, Op. 13 (1895) are no exception, though at nearly three minutes the first prelude of the set stretches the limits a bit. The Six Preludes date from a stage in the composer's career when he was still palpably under the influence of Chopin and Liszt.

Indeed, the first prelude, marked Maestoso, is certainly one of Scriabin's most Lisztian works, featuring a serene melody, rich harmonies, and a rapturous glow that recall so many of the Hungarian master's ecstatic religious pieces. The second prelude provides as stark a contrast to the first as one could imagine, the Allegro tempo and running scales combining in a spirit of nervosity and caprice. The third prelude, marked Andante, is gentle and forlorn; the fourth, marked Allegro, is elegant in its wandering theme, charming in its subdued manner. "Charming" also describes the fifth prelude, marked Allegro, which is also chipper and nonchalant . The final prelude, marked Presto, is fraught with anxiety and darkness, the main theme building from a series of descending chords and creating much tension before the prelude settles into a peaceful close.



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