Together with Camille Saint-Saëns, Edvard Grieg and Sergei Rachmaninoff, Scriabin is one of the few composers from the Romantic era to have left a recorded legacy.
After this, the following 16-bar transition develops the previous material in several violent outbursts, progressively diverging from the original key and preparing the entrance of the second theme.
The modulating development section, starting at measure 55, makes a return to the minor mode and uses the musical ideas presented in the exposition.
The second part is an exact transposition of the codetta of the exposition (which also features the same thematic superposition), which leads the whole movement to a calm end.
In a similar way the constant repeats of the Baroque-like sixteenth-note triplets in the middle section of the Allegretto create the "state of gracefulness".
Russian composers such as Tchaikovsky or Rachmaninoff often restated the lyric theme of the finale movement as climactic coda (for example in the piano concertos).
3 and the climax of the Prestissimo volando movement (Focosamente, giubiloso) is an ecstatic version of the Andante's main theme (dolcissimo).
The compression of the finale's theme in its conclusive triple statement (signaling the "plunge of the soul into the abyss of non being") does not sound Romantic anymore.
Scriabin (who indulged in theosophical speculation) has created a "cosmic cycle" by opening and concluding the sonata with a very similar energetic signal.