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E-raamat: Vital Performance: Historically Informed Romantic Performance in Cultural Context [Taylor & Francis e-raamat]

  • Formaat: 256 pages, 16 Tables, black and white; 15 Halftones, black and white; 15 Illustrations, black and white
  • Ilmumisaeg: 31-Mar-2021
  • Kirjastus: Routledge
  • ISBN-13: 9781003093220
  • Taylor & Francis e-raamat
  • Hind: 189,26 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 270,37 €
  • Säästad 30%
  • Formaat: 256 pages, 16 Tables, black and white; 15 Halftones, black and white; 15 Illustrations, black and white
  • Ilmumisaeg: 31-Mar-2021
  • Kirjastus: Routledge
  • ISBN-13: 9781003093220
Historically Informed Performance, or HIP, has become an influential and exciting development for scholars, musicians, and audiences alike. Yet it has not been unchallenged, with debate over the desirability of its central goals and the accuracy of its results. The author suggests ways out of this impasse in Romantic performance style.

 In this wide-ranging study, pianist and scholar Andrew John Snedden takes a step back, examining the strengths and limitations of HIP. He proposes that many problems are avoided when performance styles are understood as expressions of their cultural era rather than as simply composer intention, explaining not merely how we play, but why we play the way we do, and why the nineteenth century Romantics played very differently. Snedden examines the principal evidence we have for Romantic performance style, especially in translation of score indications and analysis of early recordings, finally focusing on the performance styles of Liszt and Chopin. He concludes with a call for the reanimation of culturally appropriate performance styles in Romantic repertoire.

This study will be of great interest to scholars, performers, and students, to anyone wondering about how our performances reflect our culture, and about how the Romantics played their own culturally-embedded music.

Music examples ix
List of tables
xi
Foreword: Professor Geoffrey Lancaster AM xiii
Acknowledgements xv
Introduction: the quest for nineteenth-century historical performance 1(8)
PART A Cultural and musical meaning
9(90)
1 HIP hype or a `yawning chasm'?
11(19)
1.1 Critiques of historically informed performance
11(5)
1.2 A nuanced approach
16(1)
1.3 A surprising resistance
17(1)
1.4 Brown's `chasm'
18(2)
1.5 Confirming Brown: a brief analysis of claimed HIP recordings
20(4)
1.6 A way forward: cultural exegesis in Romanticist performance study
24(2)
1.7 Concluding remarks
26(4)
2 Ghosts in the machine: cultural exegeses of Modernism and Romanticism
30(50)
2.1 Analysing culture and worldview
30(3)
2.2 The roots and character of Modernism
33(4)
2.3 Modernist philosophy
37(2)
2.4 Modernism embodied: the visual arts
39(4)
2.5 The roots and character of Romanticism
43(6)
2.6 Romanticist thought and philosophy
49(10)
2.7 Romanticism embodied: literature
59(8)
2.8 Defining and describing Romanticism: a summary
67(4)
2.9 Geist in the machine: Romanticism, Modernism, and the future
71(9)
3 Letter and spirit: culture and performance practice
80(19)
3.1 Introduction to the three styles
80(1)
3.2 Modernist style
80(2)
3.3 Modernist performance practice characteristics
82(3)
3.4 Period-historicist style
85(1)
3.5 Period-historicist performance practice characteristics
86(2)
3.6 Romanticist style
88(3)
3.7 Romanticist performance practice characteristics
91(2)
3.8 Integrating Romanticist characteristics
93(2)
3.9 Concluding comments
95(4)
PART B Reconstructing Romanticist performance style
99(107)
4 Enigma: deciphering the past
101(41)
4.1 Introduction: modes of knowing
101(1)
4.2 Written evidence 1: linguistic problems
101(3)
4.3 Written evidence 2: the ambiguity of scores
104(16)
4.4 CI9th Mileu 1: orchestral practice
120(12)
4.5 C19th Mileu 2: performance spaces and Romanticist listening
132(5)
4.6 Concluding remarks
137(5)
5 The HIP Rosetta Stone?
142(42)
5.1 Earliest audio recordings
142(1)
5.2 The three technologies
143(4)
5.3 Inherent limitations of early recordings
147(5)
5.4 Performance style in early recordings
152(1)
5.5 Analysing early recordings: a non-reductionist proposal
153(8)
5.6 Early recording analysis: three examples
161(6)
5.7 Orchestral styles and recordings
167(8)
5.8 Strings, chamber, and vocal styles and recordings
175(4)
5.9 Concluding comments
179(5)
6 Too much is only just enough: pianistic Romanticism
184(22)
6.1 Embracing Romanticist pianoforte style
184(2)
6.2 Quintessential Romanticism: sources for Liszt ian pianism
186(4)
6.3 The heart of Liszt's performance style
190(6)
6.4 The heart of Chopin's performance style
196(4)
6.5 Which piano? CI 9th pianoforte designs
200(6)
Concluding remarks - an unfinished journey 206(9)
Select bibliography 215(30)
Index 245
Andrew Snedden is an international scholar-musician and educator. He has worked as performer, university tutor and lecturer, as school music teacher, and as theatre and church music director. As pianist, he studied with close associates of Claudio Arrau, and is noted for his lecture-recitals, applying historically-informed performance practice to create entertaining performances of intelligence and passion. Most recently, in 2011 he marked the bicentenary of Liszts birth by a series of lecture-recitals performing the composers quintessential piano cycle The Years of Pilgramage. As scholar musician, he researches 19th century Romanticist performance practices as evidenced by the earliest recordings and textual sources, with a particular focus on Franz Liszt. He has recently completed a Ph.D., entitled Vital Performance: Culture, Worldview, and Romanticist Performance Practice with Application in Franz Liszts Consolations and Années de Pèlerinage Première Année, which included ground-breaking Liszt recordings in a newly reconstructed nineteenth century style. He has completed the first of two books based on this research.