clouds of perfume, and distant bells. The chords imitating the ringing of bells were a favourite of Scriabin's, and they provide another harmony that recurs throughout the work (two minor thirds separated by a minor sixth). According to Leonid Sabaneyev, when Scriabin himself played these chords, the ringing sounded from near and afar at the same time; a part of them sounded very real, while another sounded like an echo. There is also a significant five-octave arpeggiated chord at the end, representing a flash of blinding light. The music that follows surges upward in register until the end of the sonata where it dissipates, representing "enervation and nonexistence after the act of love." Performance history The White Mass sonata is one of Scriabin's most advanced works. Notable Scriabin masters such as Vladimir Horowitz and Vladimir Sofronitsky did not play or record the piece. However, Sviatoslav Richter performed it a number of times throughout his career, and played it on tours as late as 1994. See also Synthetic chord Romantic music 20th-century classical music Notes References External links Sonata no 7 performed by Jonathan Powell in Kyiv, 30 March 2010 1911 compositions Piano Sonata 07