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Highlights In Jazz Concert 204- The Crowd Pleasers, Jack Kleinsinger, Danny Gottlieb

Jack Kleinsinger Presents Highlights in Jazz

Jack Kleinsinger presents Highlights in Jazz. The concert was held at The Pace Downtown Theater, Thursday, January 8th, 1998 at 8:00 pm in cooperation with Pace University Performing Arts, Dr. Nicholas Catalano- University Director. Jack served as producer and master of ceremonies for the series of concerts. Artists for the concert include McCoy Tyner, Scott Hamilton, Lew Tabackin, Kenny Washington, Mike LeDonne, Phillip Aerts, and surprise guest Marty Grosz.

"Wolfgang Amadeus Mozart: Music For Solo Keyboard." Trevor Stephenson, Fortepiano, Marischka Olech-Hopcroft

Performance Practice Review

Olech-Hopcroft reviews and critiques Stephenson's recording of Mozart Keyboard Music.

Cover/Table Of Contents

Performance Practice Review

Front matter and Table of Contents from the Spring 1997 (10/1) issue of Performance Practice Review.

Del Suonare Sopra Il Basso: Concerning The Realization Of Early Seventeenth-Century Italian Unfigured Basses, Thérèse De Goede-Klinkhamer

Performance Practice Review

RILM abstract:"A number of thorough-bass realizations in modern editions of early-17th-c. Italian music are compared with the rules for harmonization, voice leading, musica ficta, and performance practice as laid down in treatises from the same period. Early pieces often should be harmonized differently from how they have been in modern editions. There are also many possibilities such as playing 5-6-5-6 sequences, doubling the bass in octaves, and adding dissonances in certain progressions and allowing false relations, that have hardly been used or have been avoided because they were not thought to be allowable.(Tashiro, Mimi)"

Reading Between The (Ledger) Lines: Performing Mozart's Music For The Basset Clarinet, Robert Adelson

Performance Practice Review

RILM abstract: "The basset horn came into being around 1788. Mozart used it for his concerto K.622 and quintet K.581, and for certain arias in Cosi fan tutte and La clemenza di Tito. Other works of Mozart may have been realized with the basset horn, particularly in performances by Anton Stadler."

Performance Practice And The Falsobordone, Murray C. Bradshaw

Performance Practice Review

RILM abstract: "While the falsobordone was not the most sophisticated genre of the 16th and early 17th c., it was among the most popular. Its popularity can be attributed to its simple polyphonic style, which lent itself to a variety of performances. The falsobordone could be sung by either a full choir or a solo ensemble (with recitations sung in uneven values and without a metrical pulse, but with cadences almost always articulated metrically). It could be performed as a solo song accompanied by organ or another instrument, as a highly embellished solo piece (passaggiato), or as a polychoral composition …

Cover/Table Of Contents

Performance Practice Review

Front matter and table of contents from the Fall 1997 (10/2) issue of Performance Practice Review.

Performing The Medieval Lyric: A Metrical-Accentual Approach, Roger Pensom

Performance Practice Review

RILM abstract: Linguistic and metrical accents present many challenges to performers of Old French and Provencal verse. A hypothesis is presented that resolves these problems: If the verse-metrical structure varies from stanza to stanza in the context of a melody that is repeated from stanza to stanza, then the rhythmic structure of the melody changes, paralleling the meter of the verse. Bernart de Ventadorn's Can vei la lauzeta mover is used as an example."

Book Review: "Performing Beethoven." By Robin Stowell, Eva Badura-Skoda, Paul Badura-Skoda

Performance Practice Review

The Badura-Skodas discuss and review Stowell's 1994 book.

A Look Backward: Ppr (1988-1997): Resume And Index, Roland Jackson

Performance Practice Review

Jackson is appraising the contribution of PPR.

An index of contributing authors across the history of Performance Practice Review.

A subject index for the histroy of Performance Practice Review.

Contributors/End Matter

Performance Practice Review

List of Contributors to the Fall 1997 (10/2) issue of Performance Practice Review.

End matter and advertisements from the Fall 1997 (10/2) issue of Performance Practice Review.

Concerning Articulation On Keyboard Instruments: Aspects From The Renaissance To The Present, Sandra P. Rosenblum

Performance Practice Review

RILM abstract: "The organ, harpsichord, clavichord, and piano have different articulative characteristics due to their actions. An apparent norm of nonlegato playing for secular music existed prior to 1600, with probable playing of notes in ligatures. Signs specific to Articulation began to appear in the 17th c. The articulatory quality of short slurs is discussed, and the persistence of nonlegato into the early 19th c. is illuminated. Changes in the piano and in styles of Articulation went hand in hand in the 19th c. In the 20th c., new signs were added by composers seeking greater specificity of articulative color."

Performance Practice Bibliography (1996-1997)

Performance Practice Review

A bibliography for the field of performance practice from the years 1996-1997.

Authenticity Or Authenticities?--Performance Practice And The Mainstream, Roland Jackson

Performance Practice Review

RILM abstract:"A critique of Peter Kivy's book Authenticities: Philosophical reflections on musical performance (RILM 1995-1431). Kivy proposes that performance involves four authenticities: composer (the composer's original conception), sonic (the restoring of original sound materials), personal (the performer's interpretation), and sensible (the meaning attached by an audience). The first two are furthered by performance practice, the last two by the mainstream. A reconciliation is proposed in that performance practice can encompass personalized Expression and the mainstream can profit from greater awareness of the details of historical performance."

Richard Strauss: The Don Juan Recordings, Raymond Holden

Performance Practice Review

RILM abstract:"Considers the composer-conductor's recordings of his tone poem Don Juan, and charts the genesis of the four commercially released recordings: 1917, 1922, 1929, and 1944. Techniques employed in the recordings are analyzed, and the practices and principles applied by Strauss are discussed in detail. George Szell's involvement in the 1917 recording is considered. Strauss's tempos in the 1922, 1929, and 1944 recordings are compared."

The Guitar And Its Performance From The Fifteenth To Eighteenth Centuries, James Tyler

Performance Practice Review

RILM abstract:"Discusses the four-course guitar from the 15th to the 17th c., the five-course guitar from the late 16th to the early 18th c., and the six-course guitar from the later 18th c."

Tu Ru Or Not Tu Ru: Paired Syllables And Unequal Tonguing Patterns On Woodwinds In The Seventeenth And Eighteenth Centuries, Bruce Haynes

Performance Practice Review

RILM abstract:" Original source material on historical tongue-strokes describes "paired syllables", or double-tonguing, as contrasted to single-tonguing. Patterns place the accent on the first, second, or both parts of the pair. Double-tonguing uses a rebound motion to enhance the velocity of Articulation; it reinforces appropriate metrical patterns, but is more often used to achieve speed in extended (and therefore fatiguing) runs of quick notes. Descriptions of double-tonguings began in the early 16th c. and continued to ca. 1827, and were used in Italy, Germany, Holland, France, and England."

Guitar Performance In The Nineteenth Centuries And Twentieth Centuries, Paul Sparks

Performance Practice Review

Sparks discusses the various problems and conventions in guitar Performance through the nineteenth and twentieth centuries.

"The Keyboard Sonatas Of Joseph Haydn: Instruments And Performance Practice, Genres, And Styles." By László Somfai, Malcolm S. Cole

Performance Practice Review

Cole discusses and reviews Somfai's 1995 book.

Contributors

Performance Practice Review

List of contributors to the Spring 1997 (10/1) issue of Performance Practice Review.

From Ppr To Ppo: New Directions, New Challenges, Roland Jackson

Performance Practice Review

Jackson speaks on the farewell issue of Performance Practice Review and the possible future of the periodical.

The Timpani And Their Performance (Fifteenth To Twentieth Centuries): An Overview, Edmund Addison Bowles

Performance Practice Review

RILM abstract: "From the 17th to the early 18th c., timpani performance practice was determined by stock formulas, some of which are seen in Bach's and Handel's orchestral writing. Characteristic written-out patterns only came into use in the late 18th c. In the 19th c., rapid changes of pitch became a challenge, and hand screws and mechanical linkages with tuning levers gave way to the modern pedal timpani. The modern era featured the exploitation of various and unusual tone colors and effects, such as glissando passages, stepwise ascending and descending passages, hitting the center of the drum, using different kinds …

Realizing Partial Signatures Around 1400: Liebert's Credo As A Test Case, Kevin N. Moll

Performance Practice Review

RILM abstract: "A system of realization is used to address the problem of partial signatures in vocal polyphony and the adjustments of accidentals they require. Its principles are applied to the first 18 measures of the Credo of the Mass by Reginaldus Libert. If some latitude in the governing criteria is allowed, it is feasible to realize partial signatures in a systematic manner."

Roussel: The Flute And Extramusical Reference, Wendell Dobbs

Music Faculty Research

The article Roussel: The Flute and Extramusical Reference reveals the literary side of Roussel's flute music.

The Performance Of Scriabin's Piano Music: Evidence From The Piano Rolls, Anatole Leikin

Performance Practice Review

RILM abstract: "An investigation of Skrjabin's performing style based on the composer's piano-roll recordings, focusing on a transcription of his 1910 recording of Poeme, op. 32, no. 1. The transcription demonstrates that in performance Skrjabin significantly changed the tempos, dynamics, articulation, rhythms, and even the original notes. Such features of the composer's performing style as rubato, phrasing, pedaling, and digressions from the printed text are analyzed."

José Bowen's Essay: A Few Afterthoughts, Roland Jackson

Performance Practice Review

RILM abstarct: "Performance practice might benefit from CHARM (The Centre for the History and Analysis of Recorded Music) particularly because of the access it affords to a wide range of recordings. Scholars can thereby more extensively compare, for example, composer's recordings of their own works. For practices of the early 20th c. the recordings of various composers (e.g., Grieg, Skrjabin, Elgar) may be taken as instructive models."

The Baroque Cello And Its Performance, Marc Vanscheeuwijck

Performance Practice Review

RILM abstract: "Provides a short survey of the earliest sources on the bass violin and discusses both the first appearance of the term violoncello (in 1665) and terms used in Italy and elsewhere. Performance practice, playing technique, and tuning from the 16th c. are described. The possible identity of the problematic 17th-c. violone (an 8' or 12' instrument of either the violin or gamba family) is proposed in relation to the violone in contrabbasso. A discussion of playing technique is given on the basis of treatises and compositions by late-17th-c. Bolognese musicians and 18th-c. descriptions by Michel Corrette and Salvatore …

Contributors

Performance Practice Review

List of contributors to the Spring 1996 issue of Performance Practice Review.

Performance Practice Versus Performance Analysis: Why Should Performers Study Performance, José Antonio Bowen

Performance Practice Review

RILM abstract: "The descriptive study of performance analysis and performance history differs from the usually prescriptive field of performance practice. The investigation of musical performance can be divided into three layers: general period and geographic styles, the traditions which become attached to specific works, and individual innovations. Features of the first two are transparent to performers and listeners from the same period, but they determine most of the features of a performance. Performance style is like a linguistic accent; we can no more let the music speak for itself than we can speak words without some accent. Since performance traditions …

Cover/Table Of Contents

Performance Practice Review

Front matter and Table of Contents from the Spring 1996 (9/1) issue of Performance Practice Review.