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Interpretation Problems Of Ornament Symbols And Two Recent Case Histories: Hans Klotz On Bach, Faye Fergusonon Mozart, Frederick Neumann

Performance Practice Review

The reliance on 17th- and 18th-c. ornament tables in 'authentic' performance often leads to rigid interpretations. A monograph by Hans Klotz (RILM 1984-05515-bm) and a review by Faye Ferguson perpetuate a rigid view of how 18th-c. ornaments should be interpreted.

Stravinsky, Tempo, And Le Sacre, Erica Heisler Buxbaum

Performance Practice Review

In reviews of recorded performances by others of Le sacre du printemps, Stravinsky contradicted his metronome markings and his own recorded performance tempos. His preferred tempos in the reviews encompass a range wider than the markings imply, yet more narrow than his own performance tempos suggest.

The "Not-So-Precisely Measured" Music Of The Middle Ages, Hendrik Van Der Werf

Performance Practice Review

Evidence from medieval writers, musical notation, and variant readings in the sources all suggest that troubadour and trouvere songs were performed in more or less equal note values and in a manner that presented the poetry clearly.

'Back To The Land': Performance Practice And The Classic Period, Malcom S. Cole

Performance Practice Review

Although much valuable work has been done on performance practice in the Classic period, many issues await detailed study.

The Performance Of French Baroque Music: A Report On The State Of Current Research, Albert Cohen

Performance Practice Review

A survey, with a bibliography, of published research on French Baroque performance practice that appeared during the period 1978-88.

Performance Practice: Criticism, Summary, Discovery, Roland Jackson

Performance Practice Review

Promising new directions for performance research include: (1) firsthand experience with historical instruments; (2) reexamining musical sources; (3) exploring archival and literary material; and (4) establishing links with ethnic research.

Front Matter

Performance Practice Review

Table of Contents

"The Music Of Wilhelm Friedemann Bach" By David Schulenberg, David Ledbetter

Performance Practice Review

David Ledbetter discusses and reviews Schulenberg's 2010 work.

Schulenberg, David. The Music of Wilhelm Friedemann Bach. Rochester, NY: University of Rochester Press, 2010.

ISBN: 978-1-58046-359-1

"Beethoven The Pianist" By Tilman Skowroneck, William Kinderman

Performance Practice Review

William Kinderman discusses and reviews Skowrowneck's 2010 work.

Skowroneck, Tilman. Beethoven the Pianist. Cambridge: Cambridge University Press, 2010.

ISBN 978-0-521-11959-7.

"The Sounds And Sights Of Performance In Early Music: Essays In Honour Of Timothy J. Mcgee" By Maureen Epp And Brian E. Power, Roland Jackson

Performance Practice Review

Roland Jackson discusses and critiques the 2009 work of Maureen Epp and Brian E. Power.

Epp, Maureen, Brian E. Power, eds. The Sounds and Sights of Performance in Early Music: Essays in Honour of Timothy J. McGee. Surrey (UK) and Burlington (VT): Ashgate Publishing Company, 2009.

ISBN 978-0-7546-5483-4.

"The Fortepiano Writings Of Streicher, Dieudonné, And The Schiedmayers: Two Manuals And A Notebook, Translated From The Original German, With Commentary" By Preethi De Silva, Roland Jackson

Performance Practice Review

Roland Jackson reviews and critiques De Silva's 2008 work.

De Silva, Preethi. The Fortepiano Writings of Streicher, Dieudonné, and the Schiedmayers: Two Manuals and a Notebook, Translated from the Original German, with Commentary. Lewiston, Queenston, and Lampeter: Edwin Mellen Press, 2008.

ISBN: 978-0-773-44874-2

Book Review: "Bach's Solo Violin Works: A Performer's Guide" By Jaap Schröder, Peter Walls

Performance Practice Review

Peter Walls discusses and critiques Jaap Schröder's guide on how to perform Johann Sebastian Bach's works for solo violin.

Book Review: "Performance Practice: A Dictionary-Guide For Musicians." By Roland Jackson, Peter Holman

Performance Practice Review

Peter Holman discusses and critiques Roland Jackson's Dictionary-Guide to performance-practice-related terms.

Book Reviews: "Musical Instruments: History, Technology, And Performance Of Instruments Of Western Music." By Murray Campbell, Clive Greated And Arnold Myers, And "From Renaissance To Baroque: Change In Instruments And Instrumental Music In The Seventeenth Century: Proceedings Of The National Early Music Association Conference Held, In Association With The Department Of Music, University Of York And The York Early Music Festival, At The University College Of Ripon And York St Johan, York, 2-4 July 1999." By Jonathan Wainwright And Peter Holman., Rudolf Rasch

Performance Practice Review

Rasch reviews two books on musical instruments.

Campbell, Murray, Clive Greated, and Arnold Myers. "Musical Instruments: History, Technology, and Performance of Instruments of Western Music." Oxford: Oxford University Press, 2004. ISBN 0-19-816504-8.

Wainwright, Jonathan, Peter Holman, eds. "From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century. Proceedings of the National Early Music Association Conference held, in association with the Department of Music, University of York and the York Early Music Festival, at the University College of Ripon and York St Johan, York, 2-4 July 1999." Aldershot Hampshire: Ashgate, 2005. ISBN 0-7546-0403-9.

Book Review: "Performance On Lute, Guitar And Vihuela: Historical Performance Practice And Interpretation" By Victor Anand Coelho, Daniel Zuluaga

Performance Practice Review

Zuluaga reviews Coelho's 2005 book.

Coelho, Victor Anand, ed. "Performance on Lute, Guitar and Vihuela: Historical Performance Practice and Interpretation." Cambridge University Press, 2005. Cambridge Studies in Performance Practice, no. 6. ISBN 0-521-10943-5.

Keyboard Fingering And Interpretation: A Comparison Of Historical And Modern Approaches, Jeffrey Swinkin

Performance Practice Review

Earlier systems of keyboard fingering exploit the natural differences of finger strength and utilize frequent changes of position in order to facilitate localized (gestural) phrasing and articulation, among other interpretive nuances. The modern system of fingering, by contrast, views the fingers as more homogeneous and aims to keep the hand more stationary out of a concern for purely technical facility and for promoting a longer line. This essay offers numerous examples of historical keyboard fingerings—those by C. P. E Bach, Beethoven, Chopin, and Schenker—in each case discussing the implications the fingering has for phrasing and other aspects of interpretation. It …

Book Review: "Studies In The Printing, Publishing And Performance Of Music In The 16th Century." By Stanley Boorman, Maureen Buja

Performance Practice Review

Buja reviews Boorman's 2005 book.

Boorman, Stanley. Studies in the Printing, Publishing and Performance of Music in the 16th Century. Aldershot: Ashgate, 2005. Variorium Collected Studies Series, C815. ISBN 0-86078-970-5.

Book Review: "Singing In Style: A Guide To Vocal Performance Practices." By Martha Elliott., Margaret Murata

Performance Practice Review

Murata reviews and critiques Martha Elliot's book on singing.

Elliott, Martha. "Singing in Style: A Guide to Vocal Performance Practices." New Haven and London: Yale University Press, 2006. ISBN 0-300-10932-6.

Monsieur De Saint-Georges' 'Règles Pour L'Accompagnement': A Translation And Commentary, Sara-Anne Churchill

Performance Practice Review

Saint-Georges' 'Règles pour l'accompagnement,' which provide instruction in figured bass realization at the harpsichord, are found in an undated manuscript (Paris, Bn, Vm8 1139). This article examines questions of authorship, date of copying, and the author's identity. The manuscript exhibits a close connection to Jean-François Dandrieu’s Principes de l’accompagnement du clavecin (1719) and probably represents an early version of that work.

It Can “Spoil All The Beauty”: The Duplicating Of Solo Dissonances In Seventeenth-Century Thorough-Bass Accompaniment, Roland Jackson

Performance Practice Review

17th-century accompaniments avoid duplicating the dissonances present in solo parts. This is borne out in available written-out versions (composer's copies, orchestral scorings), e.g. by R. Dowland, Cesti, A. Scarlatti, and Purcell. The same is evident in unrealized accompaniments (bass lines with or without figures) if interpreted according to contemporary strictures (e.g. Rule of Octave). Following these guidelines, harmonizations are suggested for laments by Monteverdi, Cavalli, and Cesti.

"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.