"Interpreting Mozart: The Performance Practice Of His Piano Pieces And Other Compositions" By Eva Badura-Skoda And Paul Badura-Skoda,
2012
Claremont Colleges
"Interpreting Mozart: The Performance Practice Of His Piano Pieces And Other Compositions" By Eva Badura-Skoda And Paul Badura-Skoda, Andrew Willis
Performance Practice Review
Willis reviews and critiques Eva and Paul Badura-Skoda's 2009.
"Trills In The Bach Cello Suites" By Jerome Carrington,
2012
Claremont Colleges
"Trills In The Bach Cello Suites" By Jerome Carrington, Marc Vanscheeuwijck
Performance Practice Review
Vanscheeuwijck reviews and critiques Carrington's work.
"Mendelssohn In Performance" By Siegwart Reichwald,
2012
Claremont Colleges
"Mendelssohn In Performance" By Siegwart Reichwald, David Montgomery
Performance Practice Review
Montgomery reviews and critiques Reichwald's work.
"The Rosary Cantoral: Ritual And Social Design In A Chantbook From Early Renaissance Toledo" By Lorenzo Candelaria,
2012
Claremont Colleges
"The Rosary Cantoral: Ritual And Social Design In A Chantbook From Early Renaissance Toledo" By Lorenzo Candelaria, Kenneth Kreitner
Performance Practice Review
Kreitner reviews and critiques Candelaria's book.
"Performance Practice: Issues And Approaches" By Thomas Watkins,
2012
Claremont Colleges
"Performance Practice: Issues And Approaches" By Thomas Watkins, Roland Jackson
Performance Practice Review
Jackson discusses and critiques Watkin's book.
"Changing The Score: Arias, Prima Donnas, And The Authority Of Performance" By Hilary Poriss,
2012
Claremont Colleges
"Changing The Score: Arias, Prima Donnas, And The Authority Of Performance" By Hilary Poriss, Charles S. Brauner
Performance Practice Review
Brauner discusses and critiques Poriss' book.
Some Misconceptions About The Baroque Violin,
2012
Claremont Colleges
Some Misconceptions About The Baroque Violin, Stewart Pollens
Performance Practice Review
Much has been written about the baroque violin, yet many misconceptions remain most notably that up to around 1750 their necks were universally shorter and not angled back as they are today, that the string angle over the bridge was considerably flatter, and that strings were narrower gauge and under lower tension...
What Can The Organ Partitura To Tomás Luis De Victoria’S Missae, Magnificat, Motecta, Psalmi Et Alia Quam Plurima Of 1600 Tell Us About Performance Practice?,
2012
Claremont Colleges
What Can The Organ Partitura To Tomás Luis De Victoria’S Missae, Magnificat, Motecta, Psalmi Et Alia Quam Plurima Of 1600 Tell Us About Performance Practice?, Noel O'Regan
Performance Practice Review
Article written by Noel O'Regan
Realizing The Continuo In Monteverdi's Lamento Della Ninfa And Its Implications For Early-Seventeenth-Century Italian Continuo Practice,
2012
Claremont Colleges
Realizing The Continuo In Monteverdi's Lamento Della Ninfa And Its Implications For Early-Seventeenth-Century Italian Continuo Practice, Roland Jackson
Performance Practice Review
Monteverdi’s “Amor, dicea” (Lamento della ninfa), appearing in his Eighth Book of Madrigals published in 1638, is regarded as among his most emotionally moving works, Denis Arnold (for one) calling it “unforgettable” and “almost unbearably intense.” Nonetheless, our full sense of it and of its expressive potential, remains uncertain in that its accompaniment has come down to us in incomplete form, consisting of but a single bass line on a descending fourth, A – G – F – E, repeated throughout. How this line is to be interpreted has not been agreed upon among scholars or performers, despite its critical …
Identity In Violin Playing On Records: Interpretation Profiles In Recordings Of Solo Bach By Early Twentiety-Century Violinists,
2012
Claremont Colleges
Identity In Violin Playing On Records: Interpretation Profiles In Recordings Of Solo Bach By Early Twentiety-Century Violinists, Dorottya Fabian, Eitan Ornoy
Performance Practice Review
Performance studies relying on sound recordings as evidence have often focused on establishing trends and traditions in various periods and repertoire. So far little attention has been paid to individual artistic profiles and idiosyncratic expression. Yet if performance is as significant as the notated work, as has often been argued, musicologists must be able to show what identifies a particularly famous interpreter just as they can state what characterizes the works of a prominent composer. This paper investigates the individual differences between two famous violinists. The solo Bach recordings of Nathan Milstein and Jascha Heifetz - two of Leopold Auer's …
The Violin Concerto Soloist’S Orchestral Role, From Mozart To Beethoven,
2012
Claremont Colleges
The Violin Concerto Soloist’S Orchestral Role, From Mozart To Beethoven, Carey Campbell
Performance Practice Review
The relationship between soloist and orchestra is central to the way many listeners, scholars, and performers understand the concerto. In particular, the juxtaposition of solo and tutti sections often guides our perceptions of form, dialogue, and meaning for the genre. Some regard the soloist and orchestra as conceptually separate entities, and this is reflected onstage in most modern performances by the physical separation of soloist and orchestra, whose interactions are mediated by a non-playing conductor. This strict division between soloist, orchestral player, and leader was not necessarily what late eighteenth- and early nineteenth-century composers had in mind. The bulk of …
Improvisation In Sixteenth-Century Italy: Lessons From Rhetoric And Jazz,
2012
Claremont Colleges
Improvisation In Sixteenth-Century Italy: Lessons From Rhetoric And Jazz, John Bass
Performance Practice Review
Saying that embellishment was a big deal for sixteenth-century musicians is hardly a bold move; evidence abounds in treatises, music collections, and written accounts from the time. It has also been the subject of a fair amount of keen musicological scholarship over the years. But making sense out of what musicians of the time actually did in performance and trying to reproduce it today has proven to be more difficult, mainly because improvisers, by nature, do not tend to record what they do. The modern prevailing view seems to be that ornamentation was important, mainly because evidence suggests it was …
Correspondence: February 5, 2008,
2012
Claremont Colleges
Correspondence: February 5, 2008, Roland Jackson
Performance Practice Review
Roland Jackson responds to Peter Holman's review in the 2007 volume of Performance Practice Review.
"How Equal Temperament Ruined Harmony (And Why You Should Care)" By Ross Duffin,
2012
Claremont Colleges
"How Equal Temperament Ruined Harmony (And Why You Should Care)" By Ross Duffin, Rudolf Rasch
Performance Practice Review
Rasch discusses and critiques Duffin's book on equal temperament.
"The Clarinet" By Eric Hoeprich,
2012
Claremont Colleges
"The Clarinet" By Eric Hoeprich, Colin Lawson
Performance Practice Review
Lawson discusses and critiques Hoeprich's book on the history of the clarinet.
"The End Of Early Music: A Period Performer's History Of Music For The Twenty-First Century" By Bruce Haynes,
2012
Claremont Colleges
"The End Of Early Music: A Period Performer's History Of Music For The Twenty-First Century" By Bruce Haynes, Roland Jackson
Performance Practice Review
Jackson critiques and discusses Haynes' book on the history of early music performance.
"Vivaldi's Music For Flute And Recorder" By Federico Sardelli,
2012
Claremont Colleges
"Vivaldi's Music For Flute And Recorder" By Federico Sardelli, Jane Bowers
Performance Practice Review
Bowers discusses and critiques Sardelli's book on Vivaldi's music for flute and recorder.
On Divided Lines: Instrumentation For Bass Parts In Corelli-Era Sonatas,
2012
Claremont Colleges
On Divided Lines: Instrumentation For Bass Parts In Corelli-Era Sonatas, Peter Walls
Performance Practice Review
There has been considerable debate in recent years about the appropriate treatment of bass lines in Corelli Op. 5 and other duo and ensemble sonatas of the era. This article examines the relationship between continuo parts and separate bass parts in publications that include both. It argues that the case for accepting publication formats as a guide to performance practice is weaker than has often been claimed. The inadequacy of the standard terminology (particularly ‘trio sonata’) for Italian chamber-music ensembles in this period has been much commented on. Italian practice in the 17th century was to designate pieces a 2, …
In Search Of The Eighteenth-Century “Violoncello”: Antonio Vandini And The Concertos For Viola By Tartini,
2012
Claremont Colleges
In Search Of The Eighteenth-Century “Violoncello”: Antonio Vandini And The Concertos For Viola By Tartini, Marc Vanscheeuwijck
Performance Practice Review
In this rarely-quoted excerpt, Johann Philipp Eisel obviously paraphrases Johann Mattheson’s definition of the violoncello in Das Neu-eröffnete Orchestre. It is yet another description that does not conform precisely to our early twenty-first century historical construct of the “baroque” cello. In the past not much attention has been given to such descriptions, considered to be too deviant from the general understanding of what a cello was supposed to be: five or six strings were not considered to represent the “normal” cello, and the viola da spalla was considered a different instrument altogether. However, recent research has finally taken such descriptions …
How One Learned To Ornament In Late Sixteenth-Century Italy,
2012
Claremont Colleges
How One Learned To Ornament In Late Sixteenth-Century Italy, Timothy J. Mcgee
Performance Practice Review
Several of the sixteenth-century ornamentation manuals state that they are self-sufficient tutors; that instrumentalists and vocalists could learn the skill without further assistance from a teacher. While this may have been possible for one type of ornamentation, it did not hold true for the newer, dramatic, Neapolitan style of ornamentation that was heavily based on rhetorical models, and which needed careful guidance from an experienced teacher (Author).
