Scriabin 5th Sonata. Question For Alan.

Alan, you have a fantastic recording of the on your website. I sense that you have a deep understanding of the rhythmic vitality buried within this piece. The way you play the main theme is particularly effective (starting at bar 47 and later bar 328). The bubbling energy of the underlying three-against-two rhythm really comes out. And your playing is anything but "straight" or "metronomic," which enables you to fully express the excitement of the right hand melody. I'm playing this right now. As you have already mastered the work, help me get inside your head. What were you thinking about when you practiced the section I mentioned? And further, what did you find challenging about this piece and how did you solve the problems you encountered? Any general advice?

Sorry, the answer to that one is way too much to put on this forum! I could write a book about it... A lot of what I wrote in applies - it's all about energy, about freeing the body's naturally explosive energy to manifest... sorry I can't say more! AFF

No problem, you'll hear it this summer. But anyway, nice recording!

Hello John, I'm practicing the piece again and can offer you a little more at this point: It really is mainly about rhythmic pulse. I try not to go too fast and to really bounce certain pulse notes, mostly in the left hand. I also ping the low basses when they are the beat, creating a counter-pulse which helps the general sense of controlled anarchy. I also lean on the syncopated right hand chords in a way that tries to be humorous... So it's this real play of rhythmic energies, they're playing off each other. You can't get it if you try to go fast at all, you have to give yourself the space in time to indulge in that rhythmic play. It's the overall buildup of energy, the sweep, that makes it seem fast. Let me know if this helps! AFF

Yes, doing this definitely keeps things interesting. It also instills some character into what otherwise would be... a surprisingly boring left hand part. Given the 3-against-2 rhythms, I'd hate to allow this section to just become no more than a right hand melody with left hand broken chords, which is what it ultimately becomes if one doesn't find a way to give the left hand it's own unique identity. I think what I'm saying is that, given the 3-against-2, and the general impression of energy and excitement --- bordering on frenzy and anxiety, I don't think the left hand should "accompany" or "bow" to the right hand in any way. The left hand rubs up against the right. This friction is what I'm hearing when you play it. I think many people lose this friction...which results in, ultimately, a lack of dimensionality. Yes, all of this is great. I haven't been practicing it much lately. I've sort of moved on to other things, and plan to come back to it later, but I've definitely started playing it the way you describe. And you've got it right. This is Scriabin.

Thanks for you kind words! I recently reworked this piece and played in a recital in Stuttgart. Knowing the text, you will notice the little bits of dirt here and there (getting this old dog (me, I mean, not the 5th) back in shape after a 15 year hiatus was a little more difficult than I planned) but I hope I got the spirit of the thing... Just do a YouTube search for Alan Fraser 2012 Stuttgart... We have finalized the dates for Salt Lake City. I assume you'll be coming to what is now Week 1 (formerly Week 2) but you might want to visit the site, check out the current plan and let us know your preference. Looking forward to that! AFF