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Front Matter/Table Of Contents

Performance Practice Review

Cover and Front Matter for the Spring 1992 (5/1) issue of Performance Practice Review.

Was The "Well-Tempered Clavier" Performable On A Fretted Clavichord?, Richard Loucks

Performance Practice Review

Analysis of the Wohltemperirtes Clavier shows that some of the fretting schemes for clavichords used in Bach's time permit performance of the work with approximately 179 voice-leading conflicts, of which five are difficult to perform and two impossible.

Corrections

Performance Practice Review

List of corrections to the Fall 1991 issue of Performance Practice Review.

"Bach's Continuo Group: Players And Practices In His Vocal Works." By Laurence Dreyfus, Patrick Rogers

Performance Practice Review

Rogers discusses and reviews Dreyfus' 1987 book.

"The Contemporary Contrabass." By Bertram Turetzky, Rodney Slatford

Performance Practice Review

Slatford discusses Turetzky's 1989 book.

Contributors/End Matter

Performance Practice Review

List of contributors to the Spring 1992 (5/1) issue of Performance Practice Review.

End matter and advertisemets from the Spring 1992 (5/1) issue of Performance Practice Review.

Front Matter/Table Of Contents

Performance Practice Review

Cover, Table of Contents, and Copyright Information.

"Singing In Latin, Or, Pronunciation Explor'd." By Harold Copeman, Douglas Leedy

Performance Practice Review

Leedy discusses and reviews Copeman's 1990 book.

The Implications Of Fingering Indications In Virginalist Sources: Some Thoughts For Further Study, Desmond Hunter

Performance Practice Review

Focuses on the fingering of linear figuration and of grace notes. Various methods of fingering were undoubtedly explored by performers once they had mastered the basic principles illustrated in teaching pieces, and skeletal markings in the main repertoire are informative in this respect. Indications on grace notes often serve as qualifying symbols. Given that the virginalists' vocabulary of grace signs was limited, and that other means of qualification and clarification were employed, the evidence that fingering served as a useful expedient is persuasive.

Portamento In Romantic Opera, Deborah Kauffman

Performance Practice Review

"Portamento, the practice of sliding between pitches, has traditionally been viewed as a tasteless Romantic excess in vocal performance. At the height of the Romantic era, however, singing treatises by Manuel Patricio Rodriguez Garcia, Alexis de Garaude, and Ferdinand Sieber openly discuss different types of portamento and when it is most appropriately used. Recordings by singers trained in the 19th c. such as Adelina Patti and Fernando de Lucia show it to be widely used and highly effective. Portamento was thus not a performer's unwelcome additon, but an integral part of performance practice." (Bellman, Jonathan)

The Stanford Organ: A Synthesis Of Views, The Stanford Eclectic Tunings, Robert Bates, Mark Lindley, Kimberly Marshall

Performance Practice Review

Presents a compromise of previously published views regarding the tunings of the Fisk organ in Stanford's Memorial Church (Palo Alto, California). Proposes new meantone and well-tempered tunings, illustrated with examples from Renaissance and Baroque repertoire.

Corrections

Performance Practice Review

A correction to the Fall 1991 issue of PPR.

Contributors/End Matter

Performance Practice Review

List of contributors to the Fall 1992 issue of Performance Practice Review.

End matter and advertisements from the Fall 1992 issue of PPR.

"Bach Interpretation: Articulation Marks In Primary Sources Of J. S. Bach." By John Butt, Kimberly Marshall

Performance Practice Review

Marshall discusses and reviews Butt's1990 book.

Performance Practice Bibliography (1991)

Performance Practice Review

A bibliography of performance practice study from the year 1991.

Was The "Well-Tempered Clavier" Performable On A Fretted Clivichord?, Richard Loucks

Performance Practice Review

Analysis of the Wohltemperirtes Clavier shows that some of the fretting schemes for clavichords used in Bach's time permit performance of the work with approximately 179 voice-leading conflicts, of which five are difficult to perform and two impossible.

Some Observations Concerning Baroque And Modern Vibrato, Frederick Kent Gable

Performance Practice Review

Supports a narrow and ornamentally used vibrato in Baroque music, and the basic conclusions of Greta Moens-Haenen in Das Vibrato in der Musik des Barock (RILM 88-8038), adding personal observations and comparisons of present performance styles. Emphasizes solo and ensemble vocal vibrato and violin vibrato. Disputes the pro-vibrato views of Robert Donington (RILM 82-1459) and Frederick Neumann (RILM 91-3698).

Music For The Cimbalo Cromatico And The Split-Keyed Instruments In Seventeenth-Century Italy, Christopher Stembridge

Performance Practice Review

Related to the arcicembalo, the cimbalo cromatico was a type of harpsichord in use during the late 16th and early 17th c. While most keyboards were tuned in 12-note meantone temperament, limiting the number of available sharps (three) and flats (two), the cimbalo cromatico's 19-note keyboard contained separate keys for all sharps and flats. Though useful, the instrument lacked influence; composers tended to confine themselves to the meantone system, using the more widespread instruments with split keys for the extra notes needed.