Let's talk music, no genre boundaries

Why playing the notes even perfectly well is not enough playing any composer but fell short in particular in Scriabin...

Understanding the motives behind the notes is fundamental, the musical time dimension of the piece is given birth by the way the musician understand the motives...

An example of good understanding by a Polish pianist :

https://www.youtube.com/watch?v=u-VgyjLS3ok&list=RDeHPFrCJP6c4&index=2

Here also Merzhanov genius shine in Scriabin :

 https://www.youtube.com/watch?v=zZbmTrEr7v0&list=OLAK5uy_kcBQlc_uGF33KC-Hx9PHSlh_visu4qmls

In this stunning  "Welte Mignon"  and "pianola recording" in spite of the limitations  of this kind of recording process we can even sense and feel the almost "jazzy" feeling of an improvised spontaneous irruption of another "time" than the physical one, a moment which is neither past nor future,not even momentaneous but more like an irruption of something out of time,a musical motive, in physical time itself...

Scriabin himself playing

https://www.youtube.com/watch?v=vsBoxTpk_dc&list=RDvsBoxTpk_dc&start_radio=1

sonata no3 :

https://www.youtube.com/watch?v=6bstDVo92Io&list=RD6bstDVo92Io&start_radio=1

@frogman 

“……….no genre boundaries”.

No matter the genre, sometimes a performance is so locked in and with such strong collective sense of purpose that it brings a different meaning to “spiritual”:

Perfect description of the vast majority of the performances of guitarist, Allan Holdsworth.

https://www.youtube.com/watch?v=IcPbmPM7epY

As a good friend and a top LA studio musicians said about Holdsworth:

"For me, Allan Holdsworth was the most innovative improviser of all time on ANY instrument. The great jazz soloists (McCoy, Brecker, Freddie Hubbard, Trane, etc.), all had predecessors on their respective instruments that they copped licks from and modified with their own voice. There clearly was no guitar lineage leading up to Allan's approach. This freak landed ship with a completely new vocabulary not based on anything that was already established. No blues, pentatonics, bop, post-bop...NOTHING"

@audio-b-dog 

 I don’t think the sexual aspect of music only came from Black churches. Later, of course, it was part of the blues.

I was talking about artists who grew up in the church and then turned to secular styles, such as a Aretha or Ray Charles. They carried over a certain "spiritual" fervour/intensity into their "secular" music. The resulting "hybrid" blurs definitions and presumed dividing lines. 

@stuartk 

I knew that's what you were talking about. I was trying to broaden that out, because I think that spiritual fervor is in so many types of music. It usually comes from people who have been repressed, though. Brazil had slavery. The Gypsies have been repressed in many societies and their music is known to have a fervor. (I don't know if it's religious, though.) I would like to draw the line all the way back to people living in caves, but I can't. Like Bill Mahr--"I can't prove it, but I know it's true."