Prometheus: The Poem of Fire, Op. 60

This is Scriabin's last symphony, composed in 1910. It is written in a single-movement form. "Prometheus" refers to one of the gods in ancient Greek mythology who stole fire from the heavens and brought it (symbolizing wisdom) to humanity. Scriabin himself described this work as "the entire hall enveloped in light, and then the flames ignite," and "a symphony of light, a poem of fire." The piano used in the work was intended to be played on a special piano at the time. In the score, colors were specified: C as red, G as orange, D as yellow, A as green, E as sky blue, H as bright blue, Fis (Ges) as blue, Des as purple, As as lilac, Es as bluish metallic, B as silver metallic, and F as deep red, with colored lights flashing. A piano was planned to be developed to realize this, but it did not function well, and its use was abandoned. The "Prometheus Chord" devised in this work was called the "Mystic Chord" and was frequently used in later works, including the five piano sonatas from Piano Sonata No. 6, Op. 62 onwards, and other short pieces.

In Prometheus, the piano is a crucial instrument that leads other orchestral parts. Ascending figures from grace notes, trills, and "flight" rhythms (the author explains "flight" as a rhythm primarily consisting of single-note to double-note eighth-note arpeggios that leap off the keyboard by octaves, a term Scriabin himself used in the text of Piano Sonata No. 4, Op. 30 and The Poem of Ecstasy (according to the author's translation), and which the author applies to this rhythm) are among the elements that appear from Scriabin's middle-period sonatas to his late period, and the author believes these are sonic motifs developed around Prometheus.