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E-raamat: Classical and Romantic Music [Taylor & Francis e-raamat]

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Classical and Romantic MusicSuurem pilt
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This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire. In so doing, it provides a wide range of subject-based scholarship. It also reveals a fascinating window upon the historical performance debate of the last few decades in music where such matters still stimulate controversy.
Acknowledgements vii
Series Preface ix
Introduction xi
PART I STYLE AND PURPOSE: APPRAISING EIGHTEENTH AND NINETEENTH CENTURY AESTHETICS
1 `Performing Classical Repertoire: The Unbridgeable Gulf between Contemporary Practice and Historical Reality', Basler Jahrbuch fur Historische Musikpraxis, 30, pp. 31-43
3(14)
Clive Brown
2 `Mozart as Early Music: A Romantic Antidote', Early Music, 20, pp. 297-309
17(10)
Laurence Dreyfus
3 `Listening and Responding to the Evidence of Early Twentieth-Century Performance', Journal of the Royal Musical Association, 135, pp. 45-62
27(20)
Daniel Leech-Wilkinson
PART II STUDIES IN HISTORICAL SOURCES
4 `Mathis Lussy's Traite de l'expressione musicale as a Window into Performance Practice', Music Theory Spectrum, 16, pp. 196-216
47(40)
Michael D. Green
5 `Quantz's unegal: Implications for the Performance of 18th-Century Music', Early Music, 23, pp. 54-62
87(10)
Claire A. Fontijn
6 `The Recordings of Joachim, Ysaye and Sarasate in Light of Their Reception by Nineteenth-Century British Critics', International Review of the Aesthetics and Sociology of Music, 37, pp. 189-210
97(24)
Dorottya Fabian
PART III INSTRUMENTS, ENSEMBLES AND CONDUCTING
7 `Towards a Verdian Ideal of Singing: Emancipation from Modern Orthodoxy', Journal of the Royal Musical Association, 127, pp. 226-57
121(32)
Roger Freitas
8 `Brahms's Pianos and the Performance of His Late Piano Works', Performance Practice Review, 2, pp. 58-72
153(16)
Camilla Cai
9 `The Orchestra in Beethoven's Vienna', Early Music, 16, pp. 4-20
169(16)
Clive Brown
10 `Mozart's Viennese Orchestras', Early Music, 20, pp. 64-88
185(24)
Dexter Edge
11 `Rejected Traditions: Ensemble Placement in Nineteenth-Century Paris', 19th-Century Music, 22, pp. 190-209
209(20)
Donna M. Di Grazia
12 `Style and Sonority in Wagner String Performance', The Wagner Journal, 3, pp. 4-11
229(8)
David Milsom
13 `The Origins of the Ideology of Authenticity in Interpretation: Mendelssohn, Berlioz and Wagner as Conductors', a revised version of `Mendelssohn, Berlioz, and Wagner as Conductors: The Origins of the Ideal of "Fidelity to the Composer"', Performance Practice Review, 6, pp. 77-88 [ 237-52]
237(18)
Jose Antonio Bowen
PART IV TEMPO AND RHYTHM
14 `Historical Performance, Metronome Marks and Tempo in Beethoven's Symphonies', Early Music, 19, pp. 247-58
255(10)
Clive Brown
15 `The Case of Compensating Rubato', Journal of the Royal Musical Association, 127, pp. 95-129
265(36)
Sarah Martin
16 `Tempo as an Expressive Element in the Late Romantic Lied', Musical Quarterly, 59, pp. 497-518
301(22)
Edward F. Kravitt
17 `New Light on Late Eighteenth-Century Tempo: William Crotch's Pendulum Markings', Performance Practice Review, 2, pp. 34-57
323(26)
Emanuel Rubin
PART V ASPECTS OF NOTATION
18 `Dots and Strokes in Late 18th- and 19th-Century Music', Early Music, 21, pp. 593-610
349(18)
Clive Brown
19 `The Expressive Pause: Punctuation, Rests and Breathing in England 1770-1850', Performance Practice Review, 7, pp. 199-232
367(34)
Robert Toft
20 `Beggar at the Door: The Rise and Fall of Portamento in Singing', Music & Letters, 87, pp. 523-50
401(28)
John Potter
21 `Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing', Journal of the Royal Musical Association, 113, pp. 97-128
429(32)
Clive Brown
22 `Portamento and the Phonograph Effect', Journal of Musicological Research, 25, pp. 211-32
461(22)
Mark Katz
Series Bibliography 483(4)
Name Index 487
David Milsom, who has written widely on nineteenth-century performing practice, is the author of Theory and Practice in Late Nineteenth-Century Violin Performance 1850-1900 (Ashgate, Aldershot, 2003). He is an active violinist and violist, specialising in late nineteenth-century violin performing practice and an experienced instrumental teacher. He is a lecturer in music at the University of Huddersfield.
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