The Greek word "poiein" originally meant simply "to create" or "to shape" and is the origin of the terms "poet" and "poem." It wasn't until the 19th century that this term began to be applied to music. The term "tone poet" was first used in Anton Schindler's 1840 biography of Beethoven. In 1848, Liszt presented his first "symphonic poem," while Chausson's Poème for Violin and Orchestra was composed in 1896.
Scriabin composed his first piano poems in 1903. His last three orchestral works also bear the title Poème: the Third Symphony (1903/4), entitled Le divin poème; Le poème de l'extase, composed between 1905 and 1907, with the verses written in 1906; and Prometheus, le poème du feu, completed in 1909/10. In Prometheus, music is combined with colors, and in the expansive Mysteriya, even with scents—both expressions of Scriabin's strong affinity for Symbolism.
The Deux poèmes, Op. 32, from 1903, are clearly distinct in character: the first piece is introspective and dreamy, with passionate expression, while the second appears extroverted and defiant. Scriabin's preoccupation with the idea of self-assertion is reflected in these works.
The development of Scriabin's Poème satanique, Op. 36, clearly shows the influence of Liszt, particularly in the sensual chromaticism of the Mephisto Waltz No. 1. Scriabin's ironic and questioning attitude is also evident in other pieces such as Énigme (Op. 52 No. 2) and Ironies (Op. 56 No. 2). His compositions are characterized by individual instructions and innovative techniques.
The Deux poèmes, Op. 71, also composed in 1913, display a wide range of moods and delve deeply into Scriabin's worldview. The diversity and subtlety of his work offer a glimpse into his inner world.