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Full-Text Articles in Music Practice
Not Set In Stone: Mikhail Pletnev's Rewrite Of Scriabin's Piano Concerto, Anatole Leikin
Not Set In Stone: Mikhail Pletnev's Rewrite Of Scriabin's Piano Concerto, Anatole Leikin
Performance Practice Review
Not Set in Stone: Mikhail Pletnev’s Rewrite of Scriabin’s Piano Concerto
Scriabin’s Piano Concerto in F-sharp minor, Op. 20 (1897), was initially met with harsh criticisms. Then, in 1899, the critics’ and the public’s reaction suddenly changed from disparaging to admiring. Subsequently, Scriabin’s performances of the Concerto continued to consistently gather highest accolades throughout Russia, Western Europe, and the U.S.
The only credible explanation for such a remarkable metamorphosis is that Scriabin somehow modified (and improved) the piano part in his performances. No written corrections of the piano score exist, which is not at all surprising. Scriabin never revised his …
"The Notation Is Not The Music: Reflections On Early Music Practice And Performance" By Barthold Kuijken, Colin Lawson
"The Notation Is Not The Music: Reflections On Early Music Practice And Performance" By Barthold Kuijken, Colin Lawson
Performance Practice Review
Colin Lawson discusses and reviews Kuijken's 2013 work.
Kuijken, Barthold. The Notation Is Not the Music: Reflections on Early Music Practice and Performance. Bloomington and Indianapolis: Indiana University Press, 2013.
ISBN: 978-0-253-01060-5
By Word Of Mouth: Historical Performance Comes Of Age, Ingrid E. Pearson
By Word Of Mouth: Historical Performance Comes Of Age, Ingrid E. Pearson
Performance Practice Review
Since Clive Brown’s 1991 accusation that many twentieth-century manifestations of historical performance lacked an appropriate degree of musical sensitivity, the historical performance movement has truly come of age. In the arena of Western Art music, historical performance is now an essential component of musical training and education. Successful performers must be able to seamlessly function across the widest possible range of musical styles, accommodating an equally wide gamut of tastes, both individually and collectively.
In 1982, nine years earlier, Walter Ong’s Orality and Literacy: The Technologizing of the Word explored differences between oral and literate cultures. Of particular interest to …