The Performing Style of Alexander Scriabin
When Alexander Nikolayevich Scriabin's music was performed, the listeners' responses were ecstatic. Based on transcriptions (provided as an appendix), the book focuses on an analysis of Scriabin's performing style within the broader context of Romantic performance practice.
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The Music of Scriabin Then and Now
Scriabins Performing Style
Case Studies I The Welte Rolls
Case Studies II The Phonola Rolls
Some Thoughts on Scriabin and Romantic Performing Traditions
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1908 transcribed 1910 recording A.N. Scriabin accelerando Alexander Scriabin Anatoly Liadov arpeggiated articulation artists average tempo bass beat Beliaev Buyukli Chopin chords composer composer’s compositions concert Conservatory crescendo Désir desynchronization downbeat dynamics eighth eighth note eighth-notes Etude Example ﬁngers ﬁrst movement ﬁt ﬁve ﬂexibility ﬂow Granados hands harmony Hupfeld keys leaps legato Leonid Sabaneev listeners Lobanov Mazurka measures melodic line melodic notes metronome Moscow Moscow Conservatory motifs Muzyka notation perfonnance performing style Phonola phrase pianist piano roll piece Pitch Modiﬁcations playback player piano Poem polyphonic Prelude Prelude Op printed score published score recording of 1908 reﬂected reproducing piano Rhythm and Pitch rhythmic rubato Russian Safonov Scriabin plays Scriabin’s music Scriabin’s performance Scriabin’s recording slurs sound sustaining pedal tempo changes Tempo Flexibility tempo ﬂuctuations tempo rubato tempo shifts texture thematic tone transcriptions of Scriabin’s triplet Vospominaniya Welte recording Welte-Mignon