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E-raamat: Interpreting Historical Keyboard Music: Sources, Contexts and Performance

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Research in the field of keyboard studies, especially when intimately connected with issues of performance, is often concerned with the immediate working environments and practices of musicians of the past. An important pedagogical tool, the keyboard has served as the ’workbench’ of countless musicians over the centuries. In the process it has shaped the ways in which many historical musicians achieved their aspirations and went about meeting creative challenges. In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The nineteen essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, with contributions covering the mid-sixteenth to early twentieth century. It is also inclusive, encompassing the diverse range of approaches to the field of contemporary keyboard studies. Collectively the essays form a survey of the ways in which the study of keyboard performance can enrich our understanding of musical life in a given period.

Arvustused

... there is much interesting scholarship here, and many important subjects visited, ... this is certainly an important contribution to our understanding of keyboard music through the centuries, and should be welcomed as such. Douglas Hollick, The Consort Ashgate has served the present editors and contributors well in a major book produced to a high standard. The Musical Times There is plenty written on the subject of keyboard interpretation, but the present collection, with it breadth of materials and scope, makes a unique contribution to a contextualized understanding of the creative processes in keyboard music, and ideas that intertwined with these processes. ... this collection shows the extent to which discourses on keyboard interpretation have matured and diversified over the years. Woolley and Kitchen are to be commended for their outstanding editorial work and for performing the Herculean task of providing coherence to the collection .... The book will appeal to a wide readership, particularly to those who are concerned with the broader issues of keyboard interpretation. As the inaugural volume of the Ashgate Historical Keyboard Series, this book sets an extremely high standard. Music and Letters This book is intended for scholars of keyboard music interested in music of the sixteenth to the nineteenth centuries. ... If Ashgates series can generate some momentum this book will be the beginning of an important initiative in keyboard music studies. David Rowland, Ad Parnassum

List of Figures
ix
List of Tables
xi
List of Music Examples
xiii
Notes on Contributors xvii
Series Editors' Preface xxi
Preface xxiii
List of Abbreviations
xxv
Introduction 1(6)
PART I RENAISSANCE KEYBOARD MUSIC
1 Some Aspects of P-Cug, MM 242: Antonio Carreira's Keyboard tentos and fantasias and their Close Relationship with Jacques Buus's ricercari from his Libro primo (1547)
7(12)
Filipe Mesquita de Oliveira
2 Making Connections: William Byrd, `Virtual' Networks and the English Keyboard Dance
19(12)
David J. Smith
3 William Byrd's My Ladye Nevells booke (1591): Negotiating between the stile antico and stile moderno in the Solo Keyboard Repertory
31(12)
Walter Kurt Kreyszig
PART II SEVENTEENTH-CENTURY KEYBOARD MUSIC
4 Giovanni Maria Trabaci and the New Manner of Inganni: A Musical Mockery in The Early Seicento Ricercare
43(22)
Massimiliano Guido
5 Places of Memory and Invention: The Compositional Process in Frescobaldi's Manuscripts
65(18)
Christine Jeanneret
6 The Libro di Fra Gioseffo da Ravenna: A Little Light on a Seventeenth-Century Italian Keyboard Collection
83(14)
Barbara Cipollone
7 A Discourse of Styles: Contrasting Gigue Types in the A Minor Jig from The Purcell Partial Autograph, GB-Lb1, MS Mus. 1
97(18)
Terence Charlston
PART III PERFORMANCE PRACTICE
8 Questions of Keyboard Temperament in the Sixteenth Century
115(16)
John Koster
9 Seventeenth-Century Harpsichords: Playing the Four-Foot Stop
131(10)
Peter Mole
10 `In playing those bells, his amazing dexterity raised my wonder much higher': Carillon Performance Practice in the Seventeenth and Eighteenth Centuries
141(16)
Carl Van Eyndhoven
11 Dynamics and Orchestral Effects in Late Eighteenth-Century Portuguese Organ Music: The Works of Jose Marques e Silva (1782--1837) and the Organs of Antonio Xavier Machado e Cerveira (1756--1828)
157(16)
Joao Vaz
12 Czerny and the Organ: Pragmatism, Prestige and Performance Practice
173(14)
Iain Quinn
PART IV PERSPECTIVES ON EIGHTEENTH-CENTURY REPERTOIRE
13 Some Reflections on Francois Couperin's `New and diversified character'
187(6)
Jane Clark
14 Music for Connoisseurs and Amateurs: C.P.E. Bach and the Keyboard
193(16)
Susan Wollenberg
15 Joao Cordeiro da Silva (1735--1808?): A Portuguese Galant Keyboard Composer
209(12)
Mario Marques Trilha
PART V THE NINETEENTH-CENTURY PIANO AND REPERTOIRE
16 Grand and Grander: Economic Sidelights on Piano Design and Piano Salesmanship in Early Nineteenth-Century Vienna
221(12)
Tilman Skowroneck
Andrew Pinnock
17 Left-Hand Techniques in Carl Czerny's Pedagogical Piano Works and Nineteenth-Century Pianism
233(10)
Katherine Wong
18 In the Footsteps of Jean Paul: Sonority and Pedalling in Robert Schumann's Papillons, Op. 2
243(16)
Balder Neergaard
19 A Forgotten Repertoire: The Emergence of Female Piano Composers in Nineteenth-Century Portugal
259(12)
Nancy Lee Harper
Bibliography 271(24)
Index 295
Andrew Woolley is a musicologist and performer with research interests in music of the seventeenth and eighteenth centuries, performance practice, and keyboard music. To date he has published several articles on British and Italian music of the late seventeenth and eighteenth centuries. John Kitchen is a Senior Lecturer in Music, Organist to the University of Edinburgh, and Edinburgh City Organist. He also directs both University and church choirs, gives many solo organ and harpsichord recitals, and is in demand as a continuo player, accompanist, lecturer, writer, adjudicator and reviewer and recording artist.