Skryabin’s terrifying hyper-eroticism, which pushed so many boundaries in his compositions, was also demonstrated in his playing – in the voluptuous, delicate way he caressed the sounds, in those spasmodic rhythms that sensually aroused him, in those strange and unnameable desires for ultimate caresses in the Mysterium, caresses which lacerated – ‘love-struggle’ – to use his phrase. All of this revealed his sharply sexual psychological character. 1