Satan’s Treasures, Jean Delville (1895)

In this poem, the subject matter, the overarching irony and the virtuosic writing serve as a homage to Liszt’s Mephisto Waltzes. Rather than a dramatic dance, this work unfolds as a delirious and poisonous fantasia. In a constantly ambiguous atmosphere, Scriabin himself described the work as "the apotheosis of insincerity. It is all hypocritical, completely false." Two main themes illustrate the devil’s various manipulations: the first, dolce appassionato, represents its seduction, while the second, riso ironico, conveys a demonic laugh.

This mocking attitude will resurface in later works such as Enigma Op. 52, Ironies Op. 56, and the Poème Op. 63. The compositional style itself shares affinities with other Poemes such as the Poème Tragique Op. 34 (dissonant repeated chords), as well as with the Sonatas, especially Sonata No. 4 Op. 30 which also features a three-voice accompaniment with the melody placed in the middle part.

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