Music Commons^™

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

Performance Practice Review

Slatford discusses Turetzky's 1989 book.

Corrections

Performance Practice Review

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

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

Performance Practice Review

Leedy discusses and reviews Copeman's 1990 book.

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.

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.

More (And Less) On Bach's Orchestra, Joshua Rifkin

Performance Practice Review

Hans-Joachim Schulze has argued that Bach wanted his music to be performed by large forces, and therefore performances with sharply downsized, even so-called soloistic ensembles misrepresent the composer's intentions. A review of the matter, however, shows that Schulze has misread, and even misrepresented, the relevant evidence, and that Bach's preferences indicate a far more varied picture than Schulze would allow.

Vibrato In Eighteenth Century Orchestras, Neal Zaslaw

Performance Practice Review

A rebuttal of Neumann, The vibrato controversy (see RILM 8965). The published writings of Galeazzi (1791-96), Geminiani (1751), Robert Bremner (1777), Carl Friedrich Cramer (1783), L. Mozart (1756), and the correspondence of W.A. Mozart (1778) maintain that vibrato was usually not employed by ripienists in 18th-c. orchestras, but only by soloists, and then used sparingly compared to modern practice.

"Performance Practice Before 1600." Edited By Howard M. Brown And Stanley Sadie, Timothy J. Mcgee

Performance Practice Review

McGee discusses and reviews Brown and Sadie's 1989 book.

"Performance Practice: Music After 1600." By Howard M. Brown And Stanley Sadie, Albert R. Rice

Performance Practice Review

Rice discusses and reviews Brown and Sadie's 1989 book.

The Emergence Of The Modern Conductor, Luke Jensen

Performance Practice Review

During the first half of the 19th c., the duty of directing Italian opera was divided between the maestro al cembalo (sometimes known as the maestro concertatore) and the direttore d'orchestra, with greater responsibility falling on the former. The consolidation of these two roles into one led to the emergence of the modern conductor of Italian opera. The careers of Angelo Mariani and Emanuele Muzio illustrate this transition.

"Performance Practice: Music After 1600." By Howard M. Brown And Stanley Sadie, George Houle

Performance Practice Review

Houle discusses and reviews Brown and Sadie's 1989 book.

"The Tempo Indications Of Mozart." By Jean-Pierre Marty, Thomas Bauman

Performance Practice Review

Bauman discusses and reviews Marty's 1988 book.

Performance Practice Bibliography 1990

Performance Practice Review

A bibliography concerning works published in the field of historical performance practice in 1990.

Table Of Contents/Front Matter

Performance Practice Review

Front matter and Table of Contents from the Spring 1991 (4/1) issue of Performance Practice Review.

"Performance Practice And Technique In Marin Marais' 'Pièces De Viole'." By Deborah A. Teplow, Frank Traficante

Performance Practice Review

Traficante discusses and reviews Teplow's 1986 book.

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.