 I have these memories on my childhood of receiving endless scores as present and it was absolutely amazing how the score was structured, the way the notes were presented, even the color of the paper, everything was so desirable and of course the text itself, finally no errors, so much information, so much helpful details that you could use while preparing the work on the piece and I never dreamed growing up that I would one day have the opportunity to be part of this team and I feel incredibly humbled and honored for this opportunity Working on the fingerings for Scriabin's etude of 8 Fingerings in general, it's something which my mom taught me that many, if not most of the technical problems in any piece can be solved with good, helpful, comfortable, pianistic fingerings and something which Sir Anders Schiff wrote in his introduction for the fingerings he provided for the Welthamper Klavier, for Henle, struck a chord that fingerings are like having a guide to a difficult mountain and you can still choose your own path, so you're not bound to the fingerings given to you by someone but it can give you an idea, it can give you a direction so this is what I was hoping to provide while working on the fingerings for the etudes Thinking of the etude number 12 in particular, it is probably the most famous etude which Scriabin has written or one of the most famous ones and Scriabin throughout the cycle was obsessed with stretches he wanted huge stretches particularly for the left hand we also know that he has damaged his own hands trying to stretch them using various devices and the question is do I lean into this and right fingerings which would cover these huge stretches or do I go back from it and divide the material between the two hands and in the end specifically for the left hand jumps which are huge I decided to divide them between the two hands, that's what I do when playing the etude and the reasoning behind it is as follows we can always while performing add difficulty but it is better that the base difficulty is as low as we can get it there is nothing specifically great about playing jumps that are almost impossible to do just because Scriabin had imagined it in this way but it is much more important that we can play it in such a way that would allow us to convey the emotional core of the music and not just to show that we are struggling with the technical part so that was the idea behind dividing the hands and hopefully it is of help