Most memorable musical experience Scriabins 2nd sonata unfolded as a deep sea from my fingers, agitation and tenderness

engrained into each note. I imagined a quiet night as the moonlight caressed the waves of the shore. he long melodic lines, dreamy and tender, were able to capture

and encompass me. !ven in the rests, I "ept the pedal depressed, allowing the lush and thic" harmonies to reverberate and echo off of the wall of the concert hall. he feeling

after I removed my hands from the ivories was unsurpassed and yet, the feeling I had while playing the piece although difficult was also strangely natural. It left me captivated by music and led me into a reverie filled with a type of synesthesia, or combining of all of my senses. # Mediterranean blue ha$e was in front of my eyes that resembled the water%type sonata that I had &ust performed. his moment was significant to me not because of the piece that I played, although that did contribute to it. It was more accurately the feeling that was within me that the piece produced. It was a feeling that for a split second gave meaning to my life. I never had that feeling before. his natural euphoric moment gives me the desire and motivation to continue pursuing the arts and to explore the textured world of my passion. I spent an entire year on the Scriabin sonata with my teacher, throughout the painful lessons' I attempted to perfect every phrase. (ut somehow one idea would challenge the previous one and sometimes I would find myself vanished in the music, wondering how to ma"e a coherent interpretation out of it. (ut with time and studying the piece with different teachers, it slowly came to me, naturally. #t times, I found myself having difficulty concentrating on the little details of the music because it was so stri"ing

to me. I feel every person has one piece that stri"es a bla$e in their heart. his sonata was that piece for me. )hen I actually performed it, I was frightened of all the hard wor" going to waste as a result of my stage fright. Shoc"ingly, when I played the first opening chords of the piece, I felt no apprehension or fright at all. It was a very exceptional experience, for I have been "nown to have such stage fright that I was on the verge of passing out bac"stage. My legs would sha"e, my hands would be sweaty, and I would have a million thoughts racing throughout my head. (ut of course, every musician experiences this. (ut with this performance, I did not feel the slightest bit of tension, and was fully able to give my attention to every phrase and melodic line. #lthough this musical experience was unique and memorable in many ways, it taught me a priceless lesson in music. #lthough musicians should widen their musical taste and study various pieces, I have learned that they should only perform the ones they feel closest to, and adore most. he audience reali$es when they see someone deeply involved in the piece, and it forms a strong relationship between the artist and the listener. In my future performing career, if I have one, I would promise myself to only play pieces that I feel a true connection to, li"e the Scriabin sonata. hat would be doing &ustice to the music, rather than playing something &ust to play it.