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Contributors/End Matter

Performance Practice Review

List of contributors from the Spring 1991 (4/1) issue of Performance Practice Review.

"New Essays On Performance Practice." By Frederick Neumann, Erich Schwandt

Performance Practice Review

Schwandt discusses and reviews Neumann's 1989 book.

The Vibrato Controversy, Frederick Neumann

Performance Practice Review

Today's early music specialists either ban the use of vibrato or restrict it drastically. This position suffers from three principal weaknesses: the failure to understand the nature of a well-produced vibrato in which the so-called impurities of pitch become inaudible above a certain threshold of speed, through a mysterious brain function (comparable to that involved in stereophonic sound or stereoscopic vision); a misinterpretation of sources; and an unawareness of extensive historical evidence for vibrato use through four centuries, culminating in Mozart's eulogy of a fine vibrato for voice and instruments.

"Beethoven On Beethoven: Playing His Piano His Way." By William S. Newman, Barry Cooper

Performance Practice Review

Cooper discusses and reviews Newman's 1988 book.

Performance Practice And Its Critics - The Debate Goes On, Roland Jackson

Performance Practice Review

Jackson discusses the various views of the field of historical performance practice.

Front Matter/Table Of Contents

Performance Practice Review

Front matter and Table of Contents to the Fall 1991 (4/2) issue of Performance Practice Review.

"Thorough-Bass Accompaniment According To Johann David Heinichen." Rev. Ed. By George Buelow, Philip Wade Russom

Performance Practice Review

Russom discusses and reviews Buelow's 1986 edition.

Communications

Performance Practice Review

Various "letters to the editor" editorials combatting and defending previous articles and claims published in PPR.

Ornamentation In Spanish Renaissance Vocal Music, Charles Jacobs

Performance Practice Review

Presents a survey of vocal ornamentation as descibed in Luis de Milan's El maestro (1535), Domenico Pietro Cerone's El melopeo y maestro (1613), and intervening 16th-c. Spanish publications. Discusses musical terms such as redoble, quiebro, glosa, trinar, and hacer garganta. Also includes a summary of the material provided in the eight book of El melopeo, with 54 pages of musical examples from Cerone's suggested diminutions.

Michel Blavet's Breathing Marks: A Rare Source For Musical Phrasing In Eighteenth-Century France, Lewis Emanuel Peterman

Performance Practice Review

Isolates 15 musical contexts that determine Blavet's choices for musical phrasing and proposes that they represent the unspoken, assumed rules that either consciously or unconsciously guided Blavet's choices.

"The Early Mandolin: The Mandolino And The Neapolitan Mandoline." By James Tyler And Paul Sparks, Donald Gill

Performance Practice Review

Gill discusses and reviews Tyler and Spark's 1989 book.

"Mozart's Symphonies: Context, Performance Practice, Reception." By Neal Zaslaw, Malcolm S. Cole

Performance Practice Review

Cole discusses and reviews Zaslaw's 1989 book.

Contributors/End Matter

Performance Practice Review

List of contributors to the Fall 1991 (4/2) issue of Performance Practice Review.

End matter and advertisements from the Fall 1991 (4/2) issue of Performance Practice Review.

"'Doulce Memoire': A Study Of Performance Practices." By George Houle, James Haar

Performance Practice Review

Haar discusses Houle's 1990 book.

"Authenticity In Performance: Eighteenth-Century Case Studies." By Peter Le Huray, George Houle

Performance Practice Review

Houle discusses and reviews Le Huray's 1990 book.

Words And Music: The Assembling Of Traveling West, Randall Snyder

Randall Snyder Compositions

This paper is a consideration of the art song as a unique collaboration of poet and composer, the result of which, rarely achieving a balance between the two, often resulting in a creation that comprises the predominant artistic vision of one or the other, with poetry usually getting short shrift. This discussion will examine how dfferent methods of text setting can affect the intended meaning of the poem, citing examples of poet-composer relationships. Then I will discuss how these concepts are utilized in my song cycle, Traveling West, settings of poems by Susan Strayer Deal, Marjorie Saiser, Hilda Raz, …

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.

Front Matter/Table Of Contents

Performance Practice Review

Cover, Table of Contents, and Copyright Information.

The Trio Sonata In Pre-Corellian Prints: When Does 3 = 4?, Sandra Mangsen

Performance Practice Review

Printed sources of pre-Corellian trios include several distinct scorings, one of which requires four performers (SSBbc). Particular scorings correlate with musical style and function. Melodic bass and chordal continuo were employed in the church sonata; one or the other in the dance repertoire. Moreover, the stronger the contrapuntal role of the bass part, the more likely it was to be played on a melodic instrument. After 1660, sacred and secular scoring practices became less distinct. Increasingly active dance bass lines were more often figured, while chordal and melodic bass parts of church sonatas became nearly identical.

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."

Contributors/End Matter

Performance Practice Review

List of contributors to the Spring 1990 (3/1) issue of Performance Practice Review.

Performance Practice: A Manifestation Of Our Time?, Roland Jackson

Performance Practice Review

Contrasts the antihistorical, conceptualist attitude (treating the past as our conception of it) of certain performance critics with the historical, realist position (holding that a discoverable reality can be found in the past) of certain performance-practice exponents.

Announcements/Contributors

Performance Practice Review

Describes current events such as conferences and musicological projects relating to performance practice.

Lists of contributors from the Fall 1990 (3/2) of Performance Practice review.

"Continuo Playing On The Lute, Archlute And Theorbo" By Nigel North, James Tyler

Performance Practice Review

Tyler discusses and reviews North's 1987 book.

Villanescas Of The Virtuosi: Lasso And The Commedia Dell'arte, Martha Farahat

Performance Practice Review

"Little is known about the music of the 16th- and 17th-c. Commedia dell'arte due to the improvisatory nature of the genre. The most detailed account of a commedia performance is in the composer Massimo Troiano's Discorsi... describing the festivities on the occasion of the wedding of Wilhelm V, Duke of Bavaria and Renee of Lorraine (1568). This account only mentions a few musical pieces: the music between acts and one internal song by Roland de Lassus, the kapellmeister. It is possible that Troiano did not mention all the music; close scrutiny of Lassus's 1581 Libri di villanelle... reveals that some …

"Ornamentation And Improvisation In Mozart." By Frederick Neumann., Malcolm S. Cole

Performance Practice Review

Reviews and critiques Neumann's 1986 book.

Communications, George Houle, Alexander Silbiger

Performance Practice Review

Various communications concerning previous topics covered in Performance Practice Review

Table Of Contents

Performance Practice Review

Front matter and Table of Contents from the Spring 1990 (3/1) issue of Performance Practice Review.

Questions Concerning The Edition Of The 'Goldberg Variations' In The Neue Bach Ausgabe, Erich Schwandt

Performance Practice Review

The edition of BWV 988 has a number of serious errors that make it unsuitable for performance or study. The editor, Christoph Wolff, has introduced arbitrary readings, redistributed articulation marks, and misread ornaments. The editors of the Neue Bach Ausgabe ought to consider withdrawing the edition. (Rabin, Ronald J.)

"'Musica Ficta': Theories Of Accidental Inflections In Vocal Polyphony From Marchetto De Padova To Gioseffo Zarlino" By Karol Berger, Don Harrán

Performance Practice Review

Harran discusses and reviews Berger's 1987 book.