Music does not exist ONLY in the horizontal mundane plane with a duration measured by the hour glass or the watch...
Music exist first and last in the vertical direction ... There is no flowing time , no melody for the sake of a melody, the melody become an AFTERTOUGHT, created by what is FIRST perceived : the pulsation of each chord as heights and depth sparring in ourself as a spiritual and psychological felt vertigo...The melody is not an addition of external chords but the impossible division of eternity ...The musical scale is described as non commutative by the french geometer Alain Connes...
What does it means concretely ?
It means time do not pass or do not exist, but manifest only as a revelation of something out of mundane time... Musical time has nothing to do with physical time in science or with the repetitive metronome ...
Time in music is like respiration or the blood circulation between beating heart movement in an experience where each note oscillate between before and after, suspended between the infinite heights over us and the infinite abyss under us... Music is based on a non commutative geometry and the direction taken toward the heights or the abyss, toward minor or major chord, as with each chosen note among other possible, can oscillate in an unlimited way but must be chosen at the end...Music is for us then sometimes the experience nearer to the sacred, to the miraculous, to the visionnary, to the unknown... But if it can be so only relaxing and asimple joy, humble beauty, natural and simple pleasure...it can be also way more than that ...
This cosmos originate from music not the reverse...Mathematic and even geometry are music not the reverse...
Because sound qualitative content of information is no more mere waves in the air than a fire is mere oxygen, air and wood even if it takes these element to be perceived ...Music is information and emotion coming from sound sources, not mere abstract waves...Our consciouness catch a qualitative information, a meaning, our brain can only modulate and transmit but not create...
Then i ask sometimes for a pianistic interpretation suggesting this truth and derived from it...
Each note must be not so much a sound position taken in a melody, but like a a rifle bullet aimed at our heart... The melody must not be an addition of external notes but a miracle perceived on top of our death between each bullet as a division of eternity...The notes bear their own melody and created a new one not the reverse ...Because melodies are not abstraction but explicit meanings born from implicit one...
I will translate here the celebrated Keats verse : " A thing of beauty is a joy forever"
A melody is an impossible irreversible division of eternity...
Now concretely which pianists can display in contrast, a pure perfect mudane time flowing melody , and a pure vertical time duration suspended fatefully between the heights and the abyss ...
Listen to Arrau perfect beautiful flowing melody , easy to grasp and easy to taste:
Now listen to Ervin Nyiregyházi fateful version of the same piece no more flowing but with each note surging from an abyss or falling from the heights, where the melody is only grasped as an after- tought, because each note you will see it coming as a rifle bullet aiming at your heart.then you dont remember the melody or you dont perceived it at first or you forgot it at each note and each other note remind you of it ..
It is impossible to choose between these two supreme versions, but there is no doubt that no pianist could ever learn to play as Nyiregyházi played... It is not something that can be taught ... it is out of this world and it is no more mere music... It is sacred terror gazing in the Liszt soul as in our own... A spiritual event more than a pleasant leisure...
Scriabin the successor of Liszt and Chopin must be played like this...
This is why i love Sofronitsky playing Scriabin because he play it the same way as Ervin N. in Liszt ...