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The Historical Performance of Music:

An Introduction
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Cambridge University Press, Nov 11, 1999 - Music - 219 pages
This volume offers an up-to-date overview of historical performance, surveying the various current issues (such as the influence of recording) and suggesting possible future developments. Its core comprises discussion of the period performer's myriad primary source materials and their interpretation, the various aspects of style and general technique that combine to make up a well-grounded, period interpretation, and a survey of performance conditions and practices, focusing on the period c. 1700-c. 1900. Many of the principles outlined are illustrated in case studies of works by Bach, Mozart, Berlioz and Brahms.
  

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Contents

Music as history
1
The nature and development of historical awareness
3
Influential reworkings of Bach and Handel
4
Historical considerations
6
individuals and institutions
8
The role of musical expression
9
Arguments pro and con
11
Postwar philosophies
12
Ornamentation
67
Extempore embellishment
70
Improvisation
75
Continue accompaniment
79
Conditions and practices
83
Pitch
84
Temperament
87
Vocal practices
89

Period Mozart and beyond
13
The current scene
15
The application of primary sources
17
Surviving instruments
18
Iconographical sources
19
Historical archives
21
Practical treatises uses and limitations
22
Practical treatises a summary
25
Theoretical treatises
27
The importance of communication
28
The role of editions
33
Musical taste
39
Changes in musical style
42
Articulation
47
Melodic inflection
53
Accentuation
55
Tempo
58
Rhythmic alteration
64
Venues and programmes
92
Orchestral constitution and placement
93
Direction
97
Nineteenthcentury changes
98
Case studies in ensemble music
99
Serenade for 13 instruments K361
109
Episode de la vie dun Artiste Symphonie Fantastique en cinq parties Op 14
124
Symphony No 2 in D major Op 73
137
The continuing debate
151
A snapshot from 1983
153
Authenticity and Early Music
154
The 1990s
156
The future?
160
Notes
161
Select bibliography
199
Index
209
Copyright

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About the author (1999)

Robin Stowell is Professor of Music and Director of the Centre for Research into Historically Informed Performance at Cardiff University. Educated at the University of Cambridge and the Royal Academy of Music, he is also a violinist/period violinist and has performed, broadcast and recorded with The Academy of Ancient Music and other period-ensembles. Since his pioneering book Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (1985) he has published widely on issues of performance practice, organology, music of the 'long eighteenth century', violinists, chamber music and string playing in general. His more recent major publications include The Cambridge Companion to the String Quartet (2003), The Early Violin and Viola (2001), a monograph on Beethoven's Violin Concerto (1998) and a co-authored volume (with Colin Lawson) on historical performance (1999), the first of a series of which he is co-editor.

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