Scriabin - Prelude Op.16 N.3

[quasimodo]

herewith

[quasimodo]

would do with some comments, really...

[m19834]

What kind of comment did you have in mind, exactly ?

[quasimodo]

What kind of comment did you have in mind, exactly ?

Constructive criticism for improvement...

[lostinidlewonder]

Ok here is some ideas, (notice I didn't use the flat's to describe notes, otherwise I'd be writing it all the time)

Bar1-4:
Start the 1st bar quieter because in bar 3 you should be at the height of your growing in sound and then die away and slow down every so slightly at the end of the phrase as you did.

Although the entire sound is encompassed by a legato tie I feel that it naturally phrases as RH: GF | BC ED| GA CB| EFGBA

where in the 1st group you start softer, the 2nd you grow slightly, the 3rd you achieve the height in the growth, and in the 4th you are dying away, slowing down slightly on the last two notes.

Let me just talk about the control with the melody with the first few bars only,
Bar 5-8: Pay respect to the rest beginning bar 5, cut off all sound. The melody in the Rh tends to make the highest note the louder tones. Try to make the other notes gentler while the sustained notes such as the C in bar 6, the A in bar 7, are what you grow in sound towards.

Scriabin uses a general concept on keyboard practice that when you go down the keyboard you go softer, when you go up the keyboard you become louder. This is a general rule you find when interpreting Bach, and Scriabin uses it for bars 6-8.  If we identify which notes in the melody highlight key points in these rises in sound we can make the phrase more effective.
   Notice the direction at the start of Bar 6, tending upwards towards the C, so we grow towards that, then as it descends immediately after that, we soften our touch. Bar 7 tends upwards towards the sustained A, then we continue upwards and increasing in volume towards an mf touch attained beginning bar 8. I always find this breathing type quality with Scriabin's melodic lines.

Bar 8 is a descending figure we must control the descending pattern highlighted by the FE, then DE and finally AB in the RH. I would lighten the touch with these in three steps in the RH as a guide, each one getting gentler.

Throughout the piece we have to find parts to guide your volume control, usually they follow similar ideas as discussed above.

When you reach the 9th bar you should have a more blending sound produced by the chords, and it would be especially interesting if the sustained C from the previous bar draws through and mixes with your softer touch otherwise it is just lost.

Bar 9 and 10: Every so slightly broadening these beautiful chords to make linger just that little longer would be nice for me. Don't the three ascending octaves in the LH, the GAB just beg to be drawn out a little? I like hearing length of the LH deep octaves highlighted here. This passage also reminds me of church organ music for some reason

I'm not sure about your semi quavers, highlighting the more syncopated group of 5 type semis with the group of 6 requires good control. RH Bar 24-26 they seemed a little drunk

Bar 27, really highlight the groups (discussed before in Bar 8 ) and make the more elastic paying respect to the rubato. Bar 28 -31 makes me think about Debussy Prelude Girl with the Flaxen Hair, a clean sound, make sure you make the first pattern Bar 28-29 echoed quieter in the following Bar30-31.

Nice work!

[quasimodo]

newer version

[giannalinda]

herewith

herewith what? i dont know what that means?!