I just like to hear...and play as best I can this kind of stuff.

I have listened intensely to all forms of music in my 34 years, and I
always come back to this type.

Often beautiful...sometimes just makes you think...other times you
don't know what to do....

Great stuff! :)

The two poèmes signify a landmark in the composer's stylistic idiom. Starting from op. 57,
Scriabin abandons the obligatory tonal chord at the end of the piece and seems to accepts
a dissonant harmony as an endpoint which does not require resolution. He also drops the key
signature in scores (i.e. adopts the "nominal C major") while the tonal foundations of his
pieces become rather uncertain.
The poèmes share a dreamy, serene character. The first one, still close to being in C major,
suggests a state of somewhat somber rumination or remembrance which suddenly bursts into an
almost desperate flurry of action. The second piece sounds like a play of descending raindrops
which mysteriousy resolve into a spacious arpeggio.

Its companion, the Prelude op. 59 no. 2 (played by D. Stigliani), is a completely atonal, savage wartime

http://www.geocities.com/Vienna/2032/#Piano

I would have phrases that are not known, utterances that are strange, in a new language that has not
been used, free from repetition, not an utterance that has grown stale, which men of old have spoken.

~Egyptian scribe fixed on stone at the very dawn of recorded utterance~

Move -- and a shadow appears.
Be conscious -- and you shall create cold ice.
But those who neither act nor comprehend
unavoidably end up in a wild fox's den.

Tao Te Ching