I'm so glad you enjoyed hearing this music. Yes, this piece was a pleasant surprise to me as well. I had never noticed it before.
Yes, it's certainly a very emotional piece, but those are the best kind. They enable to pianist to play with expressiveness, putting those feelings across the the listener, as well as the pianist revealing some of his own personality in the playing.
Playing the soft, gentle notes was one of the challenges to ensure that the notes all sounded, even where chord voicing was in play. Just a few days before I made the recording, my tech/tuner regulated the key dip along the entire scale. That helped quite a bit.
Concerning the bass notes, like Liadov, Scriabin was a master of polyphony, so oftentimes the left hand is not a mere accompanist, but rather and equal partner such that the melodic and harmonic/supporting lines intertwine producing a rich and extraordinary sound overall.
I did find that poco rit. a bit odd, but should probably have experimented with it more. In my score there's no rit. in measure 13, so I maintained tempo there.
Yes, on the repetition chords--we do know that the earliest influence on Scriabin was Chopin. In countless instances in his scores, Chopin strived for differentiation. Often he didn't want similar measures to sound the same. So, he's change an ornament, or a dynamic, an accent, the the composition of a chord, a bass harmony, etc. Scriabin seemed to have learned that lesson well. In this case the first dynamic is p and both the treble and bass notes are tenuto. In the repetition, the dynamic is ff, the bass notes are no longer tenuto, and the the note pattern has changed as well, and while there was a rit. immediately afterward in the initial instance, the rit. has disappeared in the second iteration. Scriabin wanted differentiation in my opinion.
Thanks for listening and commenting. I'm glad you liked this piece as much as I.
"Interpreting music means exploring the promise of the potential of possibilities." David April