Anatole Leikin is Professor of Music at the University of California, Santa Cruz. He has published in various musicological journals and essay collections. Anatole Leikin of University of California, Santa Cruz, California (UCSC). Read 12 publications, and contact Anatole Leikin on ResearchGate, the professional. Anatole Leikin was born in Germany, grew up in Russia, and moved to the USA in He is currently Professor of Music at the University of California, Santa.
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Leikin, Anatole 1946-
Ashgate, Farnham and Burlington, Vt. The title is a precise representation of the contents of all but ten pages of this fascinating book.
An admittedly impractical clarifying subtitle might read something like: The problematic aspect of the latter is the quasi-mythical status Skryabin for some reason Ashgate persist with the non-scholarly spelling enjoyed in his lifetime; critics of his playing who regularly resorted to analogies to witchcraft were at a loss to account for the effect in concrete terms. The problematic aspect of the piano rolls—the only sonic evidence we have for his performing style—is the fact that it is hard to hear from them why the playing should have been received so leikkn.
Anatole Leikin accordingly begins with a helpful and meticulous account of what we can and cannot expect from the piano roll as a medium, including the strengths and weaknesses of the different systems for which Skryabin xnatole his recordings. At the heart of the book, occupying some pages, are transcriptions of the rolls themselves, using a system devised by Pavel Lobanov.
They routinely covered a range of about 4: Given the snatole of the Lobanov system, some of the extremes agogic pauses and the like can be taken out of the equation. But the fact remains that such fluctuation far exceeds leioin in any performance manual or any norms of modern practice. This much, of course, could be heard directly from the recordings, but to see it all laid out on the page—as it were somewhere in between the notated score and the performance—is revelatory.
No pianist is cited in evidence, and none could be, because the concept is impossible to realize—a classic Aunt Sally, in fact. In his defence, his own Skryabin recordings, on the Centaur label, are top-quality affairs; what is objectionable is only the possibly inadvertent presumption of superiority. If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click ‘Authenticate’.
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“The Performance of Scriabin’s Piano Music” by Anatole Leikin
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