Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-Saëns lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration. It closes with a section on the musicological challenges to the ideology of the early music movement mounted (principally) in the 1990s. Leading writers on historical performance practice are represented. Recognizing that significant developments in historically-inspired performance have been led by instrument makers and performers, the volume also contains representative essays by key practitioners.
Contents: Introduction; Part I Prologue: On the execution of music, and
principally of ancient music, Camille Saint-Saëns. Part II The Right
Instrument: Reconstructing the harpsichord, Frank Hubbard; The harpsichord
culture in Bach's environs, John Koster; Bach and the flute: the players, the
instruments, the music, Ardal Powell with David Lasocki; New light on the old
bow: part 1, Robert E. Seletsky; New light on the old bow: part 2, Robert E.
Seletsky; Falsetto and the French: 'une toute autre marche', Andrew Parrott.
Part III Pitch Tuning and Temperament: Bach's keyboard temperament: internal
evidence from The Well-tempered Clavier, John Barnes; Beyond temperament:
non-keyboard intonation in the 17th and 18th centuries, Bruce Haynes. Part IV
Technique and Style: Handelian keyboard fingerings, Mark Lindley; Violin
fingering in the 18th century, Peter Walls; Tu ru or not Tu ru: paired
syllables and unequal tonguing patterns on woodwinds in the 17th and 18th
centuries, Bruce Haynes; 'La voce è grata assai, ma...': Monteverdi on
singing, Richard Wistreich. Part V Vibrato: The vibrato controversy,
Frederick Neumann; The censored publications of The Art of Playing on the
Violin, or Geminiani unshaken, Roger Hickman. Part VI What Works? (Text,
Subtext, Surtext): Text, context and the early music editor, Philip Brett;
Sous les doits de Chambonniere, David Fuller; Violinistic virtuosity in the
17th century: Italian supremacy or Austro-German hegemony?, Peter Allsop;
Ornaments for Corelli's Violin Sonatas, op. 5, Neal Zaslaw. Part VII Tempo
and Rhythmic Alteration: Déjà vu all over again? Rhythmic alteration vs.
Neumann's musical protectionism, Stephen E. Hefling; Alteration in Handel: a
fresh approach, John Byrt; Bach's French overtures and the politics of
overdotting, Matthew Dirst. Part VIII Scoring: 'Col nobilissimo esercitio
della vivuola': Monteverdi's string writing, Peter Holman; Professional women
musicians in early 18th-century Württemberg, Samantha Owens; P
Peter Walls is Emeritus Professor of Music at Victoria University of Wellington. He is the author of Music in the English Courtly Masque (Oxford: the Clarendon Press, 1996), History, Imagination and the Performance of Music (Woodbridge: Boydell, 2003) and numerous articles on historical performance practice. A baroque violinist and conductor, he is currently Chief Executive of the New Zealand Symphony Orchestra.
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