The notation "Poco piu mosso, energico" appears near the beginning of this work's second section, which ends with a crescendo ed agitato. Its final section, which alternates between fortissimo and fortissimo possibile [pronounce as in Italian], is played first "Allegro vivo" and then "Presto furioso." A theme introduced in 
The notation "Poco piu mosso, energico" appears near the beginning of this work's second section, which ends with a crescendo ed agitato. Its final section, which alternates between fortissimo and fortissimo possibile [pronounce as in Italian], is played first "Allegro vivo" and then "Presto furioso." A theme introduced in its second section was inspired by the composer's meeting with an Armenian actor, as itwas "famous among the Tatars," and this work's third section recapitulates on its main theme, whichdraws upon Lezginka dance music. This piece, which has a large number of (*) ossias, was first orchestrated by Alfredo Casella and Sergei Lyapunov and famously played by Nikolai Rubinstein, and Maurice Ravel attempted to surpass it in the "Scarbo" movement of his "Gaspard de la Nuit." For 10 points, name this notoriously difficult "oriental fantasy" which damaged Scriabin's left hand, a work of Mily Balakirev.
The notation "Poco piu mosso, energico" appears near the beginning of this work's second section, which ends with a crescendo ed agitato.
Islamey: An Oriental Fantasy