In my reviews of recordings of Scriabin's piano music, I often mention the
significance of tension in his music.  Of course, tension is hardly limited
to Scriabin and even applies to Schumann's piano music.

In recent days, I've been grooving to the first movement of Schumann's Opus
11 Piano Sonata in F sharp minor.  The introduction is so tightly coiled
with tension because the lower end of the keyboard is treated as an anvil.
This effect immediately makes me think of how Scriabin applies the pressure
to his music.  For Schumann, it's the tension of his love for Clara; for
Scriabin, it's the internal tension that was part of his emotional make-up.

Well, I just wanted to share this with listmembers.  Those first two
minutes or so of the Opus 11 Piano Sonata are tremendous, and the rest
of the movement is treasureable as well.

Don Satz