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Arts and Humanities Commons

Open Access. Powered by Scholars. Published by Universities.®

1990

Performance Practice Review

Performance practice (Music)-History-19th century

Articles 1 - 4 of 4

Full-Text Articles in Arts and Humanities

"Performance Practices In Classic Piano Music" By Sandra P. Rosenblum, A. Peter Brown Jan 1990

"Performance Practices In Classic Piano Music" By Sandra P. Rosenblum, A. Peter Brown

Performance Practice Review

Brown discusses and reviews Rosenblum's 1988 book.


Tempo In Mahler As Recollected By Natalie Bauer-Lechner, Nancy M. Raabe Jan 1990

Tempo In Mahler As Recollected By Natalie Bauer-Lechner, Nancy M. Raabe

Performance Practice Review

"There is no standard concert hall repertoire in which lack of sensitivity to tempo and Expression marks is more damaging than Mahler's symphonies. Their coherence lies in a series of tonal relationships emphasized by thematic connections, and tempo provides the medium through which these connections are made. Drawing on the writings of Mahler's friend Natalie Bauer-Lechner, the importance of tempo in Mahler's works is illustrated by the composer's own words."


"Bel Canto: The Teaching Of The Classical Italian Song-Schools, Its Decline And Restoration" By Lucie Manén, Philip Lieson Miller Jan 1990

"Bel Canto: The Teaching Of The Classical Italian Song-Schools, Its Decline And Restoration" By Lucie Manén, Philip Lieson Miller

Performance Practice Review

Miller discusses and reviews Manén's 1987 book.


A Letter By The Composer About "Giovanni D'Arco" And Some Remarks On The Division Of Musical Direction In Verdi's Day, Martin Chusid Jan 1990

A Letter By The Composer About "Giovanni D'Arco" And Some Remarks On The Division Of Musical Direction In Verdi's Day, Martin Chusid

Performance Practice Review

A relatively long letter from Giuseppe Verdi to the Florentine vocal director Pietro Romani, reproduced here, indicates the tempos for individual numbers of his opera Giovanna d'Arco. Verdi had a general preference for quicker tempos. The letter also provides valuable evidence for the different roles of the vocal director (Maestro di cappella, Maestro al cembalo, Maestro della musica, Maestro delle opere, or Maestro concertatore) and concertmaster, who served as the orchestra's leader, suggesting an account of the evolution of divided direction of Italian opera into the modern situation of direction by a single conductor.