Avoiding Commandments

Most of the road blocks in the path to good music making, are mental, and not physical.   They can be tough to overcome, and a daily dose of vodka, is not a healthy way to remove those inhibitions.    I know, a little southern comfort while struggling with Bach can be tempting, but in the long run, it just doesn't work.

This free advertisement warrants a free bottle? Yes?

I find myself, when in my biggest moments, yelling at myself, and enjoying a donut or two.  What I learned is, as much as the will is there,yelling does not work.   Stubbornness can be a great thing; push us to new heights when times are tough, and help us tune out the truly negative criticism that can cripple us, but with the learning process, we have to be careful.

"Crescendo, Crescendo!!"

"Bring out the melody here"

"Faster"

Bring about immediate, but not always organic results.  Bringing forth musical spasm, ratted nerves, and then back to where we were to begin with.  These commands lack any real weight or purpose, they are impotent, they do not confer any ideas.   They do not encourage good music making, or any long term gain.   

When we sit down, at a concert, and the orchestra swells, that beautiful long, gradual, even sensual crescendo, this can do more for us then any of our commands.   It can be more potent then any lecture, or explanation we can give ourselves, in our own understanding.     These musical directions must exist in the mind, before we can produce it with our fingers.   The melody must be able to sing in the brain, before the fingers recreate the tones.   Our own mental pace, must quicken, before we can ask our fingers to move "faster."

This is only from observation and personal experience, but I sometimes hear when hearing a piece, it can increase my own abilities.   Hearing a performer, play it faster, or doing an interesting interpretation, increases our own abilities, to interpret.  We have new mental pathways, we can imagine it, in fascinating ways, and twist it further.

I recently listened to Vladimir Horowitz's recording of Chopin's Andante spianato et grande polonaise brillante Op. 22 (included is the youtube link in two parts.)

I heard, something special, in it's conception, power, speed, every aspect felt new.  I always felt, that this piece was outside of my skill set.   Upon hearing this recording, the piece, became alluring, sticking in my mind, and despite Horowitz's technical abilities are far beyond my own; I felt this piece was finally within my grasp.

In a profound intimate way, Proverbs Chapter 23 Verse 7 comes to mind, and a phrase from that verse holds truth.

"For as he thinketh in his heart, so is he"

Inspiration

I am not a composer, and hold a very big jealous streak in me for those who can create music.   I gave it a try when I was younger, and was just unable to make something, that I felt, was special, and worth developing.

Being a composer is a tough job, we now live in a world, that demands everything be 100% original, which has lead to some very weird directions in some of the music being written.    Though, this will not be a rant about the direction of current classical music, but rather my thoughts on what separates a great composer from the rest of the herd.

Inspired, one of those words that get's thrown around way to often, along with other words like genius.  Though, it is essential to good music.    I am not referring to the mood of a moment, or even those "AHA!" moments, but rather, a permanent breath of life, that seems to spring forth from life force itself.  Whether, that be the composer or God, or whatever one chooses to believe that is.   No amount of technical prowess or knowledge can make up for this inspiration.  

I believe that this is a spiritual quality that anyone is capable of despite their personal beliefs.   Many people can have a spiritual sense without believe in a specific deity or religion, so this is not a religious spark.

Composer's need faith, faith enough in their own abilities, in themselves, in their convictions, enough so that they will sacrifice, put themselves on the line physically as well as emotionally, if need be; those people will find victory in the end.

The hard truth is there is not quick fixes or detours, for this kind of satisfaction.  Quick, fleeting successes, will hardly feel worth while, and the weight of the many great composers of the past can weigh down on a person's soul until they are in despair.

Though, despite all this, I feel that composers who can endure, through the mental blocks, the exhaustion, and sometimes having to forgo physical comforts, that it will pay off, the walls do tumble down.   It happens for others, and for the many great composers in the past who found their voice.  

Believe in what you are doing, have faith, and keep composing, and your music will find a way to endure!

Distractions...

The fantastic weather outside is making it very difficult for me to concentrate on the music infront of me.   It is times like these that one can easily become jealous of other instrumentalists, who can easily take their instruments outside and enjoy the sunshine and increasing chances of getting skin cancer.

Currently I am finishing up my second part of my Top Ten posts, doing the records that do not fit in the classical category.   I was surprised at how rooted some of these albums are.   Also on the the top of my list of things to do is record Mozart.   I own a Petrof upright piano, and while it is good for practicing, I am not sure about recording on it.  Suggestions?

Top Ten Favorite Classical Records.

Everyone has their list of favorite albums.  May not be organized in a top ten, but I can ask anyone to tell me five recordings that changed them, and they can answer, pretty quickly in most cases.    These albums, are firmly planted in our minds, we remember where we were when we first heard the sounds burst free from our speakers.    They grip our consciousness, and for that small time while we listen we are enraptured, transported, and ultimately transformed by the experience.   Our world is shaken, and things will never be the same.

Later on I will do my Top Ten, non classical recordings list, but for now, let's just keep it to Classical.   

10).  Romantic Piano Concertos Volume 50:  Tchaikovsky

I will be upfront, I was never a big fan of Tchaikovsky's First Piano Concerto.   It was overplayed, and most of the time played badly or uninspired.  That was until I heard Stephen Hough.   I was lucky enough to see him in concert play the first with the Indianapolis Symphony.   I was blown away, by the power, passion, and his graceful, clean sound.   I went out to get the recording almost immediately.   I was in luck, it sounded just like the concert.   I always worry, that a record will be over engineered.   And a further bonus,  He plays the lesser played, but just as brilliant 2nd and 3rd concertos as well as the unknown concert fantasy.  Just and overall delight of Russian romantic piano music.

9). Karol Szymanowski: Piano Sonata No. 3; Métopes; Masques

For a long time, I thought I could not enjoy more modern classical music.  To me, it sounded weird, ugly, and missed the epic grandeur that I loved in the Romantic works.   Piotr Anderszewski's account of polish composer Karol Szymanowski changed my mind.  I found myself curious about the pieces, probing into their structures, and just listening for what happened next.  Whether it was the pianist, or just the right time I feel that Anderszwski had a sound that was both intellectual, curious, and daring.

8.) Leonard Bernstein: Beethoven The Complete Symphonies

I have since listening to this recording, heard the Beethoven Symphonies many times.  Sometimes I enjoy the recordings more, but this was the first time I heard all of Beethoven Symphonies, and really took time to listen to more then the 5th.   Bernstein's energy and enthusiasm for the music is infectious.   The recording, is loud and energetic.  It always got my blood pumping.   It is hard to not still sing BUM BUM BUM BUUUUMMMM, and conduct to my imaginary orchestra, when his fifth symphony begins to play.

7.) Christopher O'Riley: True Love Rates

I debated whether to put this on my list of classical recordings.  Considering it is transcriptions of the music of Radiohead, but transcriptions have been part of classical since day one.  With the Liszt Schubert song transcriptions coming to mind.  I feel this recording is not any different.  Presenting music that is popular today. Also, I am including some of these transcriptions in my own recitals later on this year.  O'Riley definitely has an impressive resume, and brings many of these Radiohead songs to life for classical audiences.  What is more amazing, is while virtuosic, all of the songs line up perfectly with their original counterparts.   Paying tribute to what made those songs special, only taking liberties with the scope of the harmonies being used.

6). Murray Perahia: Mozart The Complete Piano Concertos

Murray Perahia is one of my all time favorite pianists.   He has a sense of control that can rarely be matched.   That is exactly what is on full display in his recordings of the Mozart concertos.   These recordings capture everything, the graceful nimbleness needed for Mozart, a pure sounding tone, and balanced orchestra.   I was unable to just choose one CD, so luckily for me they finally released a box set with all the concertos included.   

5). Jon Nakamtasu: Rachmaninov Piano Concerto No. 3/Rhapsody on a Theme of Paganini

I love Jon Nakamatsu's playing.  he was the first pianist I got to see playing in concert, and was the first time I heard a piano play with an orchestra.  The experience has stuck with me, and I remember it fondly. His recording of Rachmaninov's tough 3rd piano concerto is great.  It may not have some of the power as other recordings, but the passion is there.  Bringing to life the sensuality in the piece, and bringing us through a breathtaking experience. 

4). Emanual Ax: The Brahms Concertos

Both concertos by Johannes Brahms are gargantuan, some of the longest in the standard repertoire.  Presenting many challenges for the piano as well as orchestra.   In these concertos, the piano is more part of the orchestra, instead of the usual confrontation between the two.   No one get's that better then Emanual Ax.   His piano sometimes sneaks out of the orchestra, and always feels one with the sound being created.   There are many great delicate moments as well as the big show stopping ones. I always find it hard to not let a tear come to my eye when listening to these pieces.  They tell a story, that is very close to my heart, and never fails to move me.

3). The Pianist Soundtrack

I remember a few moments from the film "The Pianist" staring Adrien Brody.  All of them feature the piano, and though there was few piano scenes in the movie.  It was evident, despite some small issues, that the director had respect the that the instrument played in his character's life.  Whether the scene where the protagonist must play for the German officer while he is starving and frozen, or the glorious credits, that feature Chopin in full glory.   They are all captured here, on CD, letting me enjoy those moments without having to watch the movie.  On here is some truely great recordings of known Chopin pieces, some like the Grande Polonaise or The famous G minor Ballad, but also smaller intimate works , a few nocturnes, mazurkas.   

2). Horowitz: Live and Unedited

Legendary Vladimir Horowitz's 65 return concert.   While, his playing may have not been at his best technically.  He was dealing with nerves, and coming out of a 12 year retirement.  His passion and power are electrifying. From the very first few opening bars of his Bach, to the last powerful chords of Chopin's G minor prelude, this recording is just exciting.  Horowitz was always great and being and excellent showman, and his interpretations are always worth listening to.   This is a great recording to hear why he was considered one of the best.

Transcriptions, soundtracks, and lot's of piano, these recordings shaped how I listen and enjoy classical music.  Each one is special to me.   So what could be No. 1 in my mind?   I thought about this, and the answer was simple.  Drum roll please.....

1). Murray Perahia: Beethoven's Piano Concerto No. 5 "Emperor"

I spoke before that Murray Perehia is one of my all time favorite pianists to listen to.   I also should admit, that I have an obsession with Beethoven's "Emperor" Piano concerto.   It represents everything I love from music.   A brilliant structure, that only Beethoven could come up with, a grandiose sound, exciting moments, and intimate sensuality.  Beethoven paints a picture of humanity as a whole.  Capturing everything we feel. Perahia is the Perfect choice for this piece.  Once again, his control is on full display, but the music is still exciting.   Tempos feel perfect, and the slow movement touching.   It is not and exclamation of sadness, but rather a celebration of the journey that is our lives.

I would love to hear what other people have as their top ten, so please leave a comment below!   Subscribe or Follow on facebook at www.facebook.com/jdhpiano 

For Those Who Call for Change Part 2

It was a sticky situation, the place was coming apart, the boards on the windows would not hold for long, supplies were limited, and worst of all, THEY just kept coming.  Who was they?  Nazi Zombies, which I guess are worse then regular. zombies, which means I have to ask, are there Jewish Zombies?  American? Christian, what happens when a Nazi zombie bites an american?   I derail of course....It was a fun night, of x box, booze, and later on karaoke.   With just enough vodka in us for no one to care about how truly bad we are.

I mean, it was a night of quiet reflection, as I pondered the meaning of life...Yeah, that's it!

And now....Mozart!

In my last post, I briefly ranted about changes in classical music, and ruminated on the audience; what music meant to them.     I also believe though that many changes have already happened.   Are we blind to them? Are they enough to satisfy those who rally with the cry of "change?"   Or, are the small changes I see, more of a local event?   Not as spread out as I would like to believe.

Small Disclaimer:  This is all 100% opinion based on my observations, I will not be offering statistics, just what I have seen with my own eyes.

If we classical musicians have a uniform, it would be the formal tux, or black dress.   Many concerts the pianist, or soloist, can be seen taking the stage wearing his best tux, or her best dress.   The members of the orchestra, present a unified front, men also wearing tuxes, women in dresses.

In the big orchestral concerts, this is mostly still true, the standard concert dress.  That is perfect I believe, I feel it adds to the performance, so many musicians acting as one to bring a piece of music to life.  Though, in many smaller intimate concerts, the dress seems to be changing.

The dress is becoming causual; more and more often, I see concerts by artists, who are not wearing their Sunday best.    Jeans or sometimes a t-shirt.   Friend and Chicago based pianist, Jonathan Cambry, is a great example, bringing his individual style to the concert platform.

Here is a video of a recent series of performances he was apart of.  I believe the relaxed dressed helps people feel more at ease in a concert.

Sometimes, it has helped the audience just relate more with the performers.   They do not feel an uptightness, and relax and enjoy the music more.




Overall, musicians are trying harder to give the concert goer a more relaxed experience.   We are in touch with the members in our audiences, as we play the music we love.

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Those Who Call for Change....Part 1

Over and over again, I run into blogs and articles on how Classical music needs to "change", that it is old fashioned.   Everyone appears to have an opinion on the subject, and many times it is, we need to change the formula to win the kids back.

So how does one respond?  By writing a blog on the subject of course! And, become annoyed at myself later for doing it.

What seems to be lacking, is what the concert experience is for people.  Which is increasingly varied.   Let's not worry about the wide variety of music styles, even in styles such as rock, which has many niche styles, that will never achieve wide spread acclaim.  Let's just discuss what the concert experience is for people.

All around the world, people go to concerts for different reasons, in some parts, they are much more relaxed at classical concerts.   Even in America, going to a concert, can be a different experience, by which part of the country you are in, who the typical audience members are.   I know many people who enjoy getting to go to something "classy", getting to dress up, and go for a night on the town.   They truly enjoy listening in silence to the music.

Some people, it is a more spiritual experience, classical music, can bring them closer to God.   I am reminded of the times I have played at churches, and the reaction to the music being played.   One church prided it's self on playing modern church music.  Songs that were more akin to top 40 radio then spiritual works.   I would sometimes play some classical during the time of communion, during a time of silence for the congregation to pray.    Often, I was hit with the complete silence after I would play.  It was louder then any applause I have ever received, and I rarely felt it, when non instrumental or classical works were played. At first, worried, that I had not done my job well, but what followed touched me.   Many people, came up to me after the service, and complimented me, thanking me for playing that music, that it had reminded them of something important, memories, family members or close friends, and allowed themselves to open up emotionally.  

My eyes were open after this, to the different uses, and needs of the music I played.   Differences between a concert, a small intimate recital, or just a piece at church.    I feel many, who claim there need to be change, want to pigeon whole the music.  Classify it as easily as some pop music genres.  Seeing the concerts of the big stars, and maybe, feeling a twinge of jealousy, wishing for something more like that.    This is all purely opinion and guess work.   It is important to consider our role as artists, we do not all have the same path, and more ticket sales are not always the end goal.

My own goals are simple...If even just one person walks away from a performance of mine, and was touched on an emotionally level, I have done my job.  I feel, that when I play, that there is a sharing of intimate stories, melodramatic, exciting, sometimes tragic, but always uplifting.

Please feel free to comment and subscribe; I would love to discuss this further.    And click like on my facebook page, for further updates and projects.

In part two, I would like to discuss, why I think many of the changes, that some call for, may have already happened.

Practice, Practice, Practice.... Part 1

Practice, Practice, Practice...A phrase I remember clearly from my first teacher.   Of course every teacher advocates practice, it is not possible for us to improve as musicians without putting in our time.  Of course, this varies greatly from person to person, but the core remains the same, we get better as we play more.

I am jealous of many of my peers, who are very natural piano players, with large hands or longer arms.   Or, in some cases, just learn much quicker, but these things do not mean, that I am any less of a musician.   I also feel, that, the way I practice, will not work for everyone, and people should find their own path.

Practice is the day job of the musician, it is not always fun, and sometimes be very frustrating.   Sometimes, it can be a lot like data entry, as we input the information into our heads.   For myself, I found that discipline, and stability have lead to my greatest improvements.

Before I get into the meat of working on pieces, I like to start with stretching, away from the piano.

You can find information on the internet about stretching, but I find it important to stretch:

• Shoulders
• Back
• Arms
• Fingers

It helps me feel loose and less tension, and since I plan to play much longer while practicing then I would for a performance, I have done well to avoid a lot of injuries this way.

So now, on the piano, I start right into Rachmaninov....Totally kidding, I prefer to start with scales, with the metronome.   I only work play 3-4 scales a day.  Put find it important to play them slow(around 69 on the metronome) and fast (108 on the metronome).    For the obvious reasons of getting my fingers ready, the slow practice, is to help control my sound.  To not let my body be ran by the adrenaline, but to finer control my pace.  Put the music back in the realm of the mind, and not the excitement of the body.  Music is control of one's emotion in expression.

One thing many pianists lack, is sight reading abilities, myself included.   I feel it is important to improve this skill, so I will learn something new everyday.  Play from a score I have not seen before.  With the internet, and websites such as imslp.org it is easy enough to find new music.   Or just find a hymnal and start playing from the beginning. 

Continuing in my next post, I will discuss how I work on a new piece.    I hope to hear your stories of practicing, and what people have found to work, and not work!  Please subscribe or Like me on facebook at:  http://www.facebook.com/jdhpiano

Practice time!! Where is my Martini!

More Chopin

I had considered writing about this when I was enjoying the fine Chopin vodka in my previous post, but I thought drinking Chopin, While listening to Chopin, while reading about Chopin, and then writing about Chopin would be just a little redundant.    So, I waited like a patient man, did a little more reading, and was shocked by what I learned.  

Interesting to note, that Chopin, was not always considered the genius that we consider him today.  This should not have been a surprise, many composers are not recognized during their time, but I was under the impression that Chopin was different.   That everyone knew he was special.  Schumann exclaimed, "Hats off,  gentleman, a genius!" Berloiz and Liszt also recognized him, but it was a comment by Liszt that caught, stating that posterity would rank him very much higher then his contemporaries did.

Who were Chopin's contemporaries, certainly more then Liszt, Schumann, and Berloiz.   Sometimes we forget there were many more composers then the ones who actually survive history's brutal onslaught.   John Field, who has not totally been forgotten, had this to say about Chopin's music, that it was "music for the sick -room."    Kalkbrenner said, "There are spots on the new star."   It is difficult to know what he was refering to, but it seems his intentions on Chopin's music was clear.   History has been brutal to Field and Kalkbrenner, it sometimes seems as if they never existed; Kalkbrenner's music is never played, and Field is remembered mostly for just  a few of his Nocturnes.   Most of the time, when I mention John Field, most people seem to think I am referring to a tractor.

I do say my dear chap, I do believe she finds my nocturne quite sexy.

Though for whatever reasons, the music of Chopin endured, some pieces large, but also the small pieces.  The short Marzurkas, waltzes, whom to many at the time, were maybe considered after thoughts, but have went on to outlive many larger works of the time period.

Only scratching the surface here, I shall have to return to Chopin's music soon, for a deeper look at some of his pieces.

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Bach, Chopin, and Mass Effect!

The weekend is winding down and I sit back looking into my adventures of the past few days.  Well...it has been a rather quiet weekend.  One more of a quiet drink, reflection, and shooting as many aliens as possible.

There is something still fun about some video games.  Not having the patience for many of the shooters, most of the time I play the games like Mass Effect, character driven dramas more akin to the movies I watched growing up.   A space opera, with many colorful characters and heartfelt moments.   I enjoy the stories, the melodrama, and the interactivity these games provide.  In many cases it is like getting to play through star wars.

I also treated myself to a bottle of Chopin Vodka, I will include a picture of the awesome bottle.  Which includes a picture of the composer.  I was sadden to realize that you do not get Chopin's genius when drinking his vodka.  I think the company needs to find a way to put that in the olives.

Adding a little Legato to my evening.

Some how, this reminded me of music of Johann Sebastian Bach, and how it is perceived by many; Viewing it as formulaic,  archaic, and in a some cases dull.   This view is prevalent in even how we decide to interpret Bach.  Many times blame rests on the instrument that the music was written for, the clavichord.

The clavichord has a fantastic tone, it can be delicate and charming, but at the same time tremulous.  The instrument is unique in that the action that produces the sound, also ends it, by the metal(this part is called the tangent, for those who are just dying to know) holding onto the string as long as the key is held.    As long as that key is held, the sound is allowed to vibrate, but as soon as it is let go, the sound is dampened.   This is different from the harpsichord, where the strings or plucked.

The clavichords, which may have predated the harpsichord, my recollection of history deciding to return to me with a hangover from too many appletini's on the beach.   Though, what I do remember is that it remained a relatively popular instrument among the composers.   Mozart, composed his famous opera, the magic flute, using a clavichord, and Beethoven was reported to have said that out of all the keyboard instruments, he could get the widest variety of expression from the clavichord.

For Bach, this emphasis on variety of touch is paramount, and essentially to have a flexible and subtle range of tone production.    This would be difficult for any composer to put on paper, and so it is up to us, as performers to make these choices.   The general idea, when playing the piano is use of relaxation and using the weight of the arm, but for Bach, it is essential to let the fingers do the work.  It is obvious these pieces, especially those written in The Well Tempered Clavier, are intended for finger work.   That is to not say one is more important to the other, but rather just another "tool in the tool box" that as a pianist we can apply for musical purposes.

The mistake is viewing Bach's music as dry, formal, and uninteresting; his music is the opposite, full of beauty, lyricism,  and poetry.   He is extremely melodious, despite, his tough architecture and intricate polyphony.   It is an utter joy to follow his various voices and see where they wander, and finding when to emphasize and when to subdue, when to allow the music to flow, or punctuate the notes.

His musical ideas can be found all throughout the Well Tempered Clavier:

The prelude in D major, from book I gives us a light-hearted, spring mood.  Almost as if people are enjoying a nice spring day, kids playing tag, running in a field, pervades the entire piece.

The prelude in E minor gives us something else entirely.   A prelude full of passion, painful longing, and impetuousness.   

The prelude in G sharp minor from book I is full of nuances.   The piece feels serious, but with small glimpses of light that peek through the cracks.

There are many more examples, just from the Well Tempered Clavier, but they point to one idea.   Bach cannot be heartless, unsympathetic playing of the notes, but mental comprehesntion of the art and mood being expressed.   The pianist must work his fingers around the subtle nuances and changing moods that Bach Demands of us, to successfully adapt it to the piano of today.

"Summer Vacation"

Summer no longer has the ring that it used to.  Instead of the evenings riding bikes with friends, catching fireflies, playing video games, or a good day of fishing, has been slowly replaced with the humdrum of responsibility.    If I ride my bike, it is to my summer job as a telemarketer, and I no longer catch fireflies with friends, but make out phone call after phone call.   

Don’t get me wrong, with the economy how it is today, I am lucky to have a relatively well paying, and somewhat flexible job when so many struggle to find any job.   

Summer, is just not want it used to be, it is no longer the golden “Summer Vacation.”     I could tell you, that this was a “Golden Era” of sorts, a time that I will always wish was still what summer meant.    Now I wake up in the morning, finding those precious few hours to practice, until the afternoon, which I go in for shift, and hear call after the call, the ringing sounds piercing my ears almost constantly.   I some nights find myself bored, just waiting for someone to actually answer the phone; learning to be more patient with others  and not become angry when the people on the other end are not so nice.

I find the boredom a comfort, a break in the day, that I can let my thoughts wash out of my system, but one thing it is not is a “summer vacation.”    So, I do yearn, but it is not for some mythic simple time, that probably never existed, but rather the present.    More contrast with the boredom, to pursue intellectual lines, or at the very least, geek out over pretend intellectual lines.    The past loses it’s luster when compared with the sensuality of the present, constantly being surrounded by the sights and smells.   The feeling when the sun beats down, warming the skin, as you walk outside, the wind is cool.   The feeling you get when you see a beautiful woman, and have to take a second glance to glimpse her curves.    The present just feels preferable to the past.

Alright, and by curves let’s face it, if you are a guy, and have to take a second peak, you are checking out her butt.   We can try to dress this up with pretty words, but there are times when words fail us.   Scriabin, however, does not fail  in his sensual soundscape.   He deftly writes poetry for our ears.

The aptly named Poeme op. 32 No. 1 reaches to the core of this yearning, the enjoyment, the fulfillment, and the frustration and restlessness of wanting more.   Opening up with a serene melody, that just floats or glides over our skin, we are eased into his world.   Reminiscent of the nocturnes of Chopin, but this is not music of the night, but rather that lazy summer day.    Take it’s time and unwinding until we hit small “flutters”

Rising up until hitting that sweet note.   Scriabin builds in dynamics until he reaches, just one note, the turning point.

Inferando…is our instruction for what comes, as the music becomes more restless and quickens, by using 16^th note triplets over the 8^th note triplets before, but it remains quiet.   I had some trouble finding the meaning of Inferando.

Sometimes Scriabin would make up new words, or just out right butcher the Italian language in his search for directions for his music.  And the closest I was able to find was the Italian “Innaferribile” which usually means elusive or unseizable.   With the quick nature of the texture, and quiet nature it feels elusive.  Though it is also close to the word “afferando” which means gripping or seizing, leading me to believe that Scriabin was trying to lead us on a chase, while elusive there is hope we will capture what we are after.

The breaks between calm and restless trade off again, leading to familiar ground, as we can just enjoy the caress of harmonies, and punctuating this with an almost sigh of relief with a final Major F sharp major chord.   Our summer day has ended, and it is time to head home for the evening…..Maybe to catch some fireflies.


PS.  For those, who might want to listen to the piece in it's entirety check out this link.