Robert Philip's 'Freedom and Restraint in Recordings of Mozart' applies a methodology... more Robert Philip's 'Freedom and Restraint in Recordings of Mozart' applies a methodology that he developed in his book Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950 (Cambridge, 1992), and reaches similar conclusions. He compares 'historic' and modern recordings of Mozart's instrumental works with respect to rubato, flexibility of tempo, vibrato, and portamento, and speculates that in these areas the earlier performers more nearly resemble eighteenth-century practice.
INTRODUCTION One of the reasons for writing this book is a belief that early twentieth-century re... more INTRODUCTION One of the reasons for writing this book is a belief that early twentieth-century recordings can shed new light on the performing styles of the nineteenth century. The most obvious link is that many of the musicians who performed on early recordings were brought up in the nineteenth century, and their playing must include remnants of nineteenth-century style. The fact, for example, that Ysaye studied under Vieuxtemps and Wieniawski, and that Joachim played under Mendelssohn and was associated with Brahms, gives particular importance to their recordings. But the recordings of the early twentieth century have a more general relevance to nineteenth-century practice. Stated at its simplest, it is that none of the aspects of early twentieth-century style described in this book can have arisen overnight. In the use of vibrato and portamento, in flexibility of tempo, and in detailed rhythmic style, the performers of the early twentieth century can be heard moving towards what we now think of as modern style, and away from earlier practice – that is, the practice of the nineteenth century. This is no more than a statement of the obvious. In any period, performance is in a state of transition from the past to the future, and the early twentieth century is no exception. The difficult question, and the question of most interest to students of historical performance practice, is what aspects of early twentieth-century performance can be identified as surviving from the nineteenth century.
INTRODUCTION One of the reasons for writing this book is a belief that early twentieth-century re... more INTRODUCTION One of the reasons for writing this book is a belief that early twentieth-century recordings can shed new light on the performing styles of the nineteenth century. The most obvious link is that many of the musicians who performed on early recordings were brought up in the nineteenth century, and their playing must include remnants of nineteenth-century style. The fact, for example, that Ysaye studied under Vieuxtemps and Wieniawski, and that Joachim played under Mendelssohn and was associated with Brahms, gives particular importance to their recordings. But the recordings of the early twentieth century have a more general relevance to nineteenth-century practice. Stated at its simplest, it is that none of the aspects of early twentieth-century style described in this book can have arisen overnight. In the use of vibrato and portamento, in flexibility of tempo, and in detailed rhythmic style, the performers of the early twentieth century can be heard moving towards what ...
Performing Music in the Age of Recording Robert Philip Listeners have enjoyed classical music rec... more Performing Music in the Age of Recording Robert Philip Listeners have enjoyed classical music recordings for more than a century, yet important issues about recorded performances have been little explored. What is the relationship between performance and recording? How are ...
A great deal of evidence survives about how Brahms and his contemporaries performed his music. Bu... more A great deal of evidence survives about how Brahms and his contemporaries performed his music. But much of this evidence - found in letters, autograph scores, treatises, publications, recordings, and more - has been hard to access, both for musicians and for scholars. This book brings the most important evidence together into one volume. It also includes discussions by leading Brahms scholars of the many issues raised by the evidence. The period spanned by the life of Brahms and the following generation saw a crucial transition in performance style. As a result, modern performance practices differ significantly from those of Brahms’s time. By exploring the musical styles and habits of Brahms’s era, this book will help musicians and scholars understand Brahms’s music better and bring fresh ideas to present-day performance. The value of the book is greatly enhanced by the accompanying CD of historic recordings - including a performance by Brahms himself.
About the book: This guide to the orchestra and orchestral life is unique in the breadth of its c... more About the book: This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestra’s continued role in a changing society. Other topics discussed include the art of orchestration, scorereading, conductors and conducting, international orchestras, recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts.
Robert Philip's 'Freedom and Restraint in Recordings of Mozart' applies a methodology... more Robert Philip's 'Freedom and Restraint in Recordings of Mozart' applies a methodology that he developed in his book Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950 (Cambridge, 1992), and reaches similar conclusions. He compares 'historic' and modern recordings of Mozart's instrumental works with respect to rubato, flexibility of tempo, vibrato, and portamento, and speculates that in these areas the earlier performers more nearly resemble eighteenth-century practice.
INTRODUCTION One of the reasons for writing this book is a belief that early twentieth-century re... more INTRODUCTION One of the reasons for writing this book is a belief that early twentieth-century recordings can shed new light on the performing styles of the nineteenth century. The most obvious link is that many of the musicians who performed on early recordings were brought up in the nineteenth century, and their playing must include remnants of nineteenth-century style. The fact, for example, that Ysaye studied under Vieuxtemps and Wieniawski, and that Joachim played under Mendelssohn and was associated with Brahms, gives particular importance to their recordings. But the recordings of the early twentieth century have a more general relevance to nineteenth-century practice. Stated at its simplest, it is that none of the aspects of early twentieth-century style described in this book can have arisen overnight. In the use of vibrato and portamento, in flexibility of tempo, and in detailed rhythmic style, the performers of the early twentieth century can be heard moving towards what we now think of as modern style, and away from earlier practice – that is, the practice of the nineteenth century. This is no more than a statement of the obvious. In any period, performance is in a state of transition from the past to the future, and the early twentieth century is no exception. The difficult question, and the question of most interest to students of historical performance practice, is what aspects of early twentieth-century performance can be identified as surviving from the nineteenth century.
INTRODUCTION One of the reasons for writing this book is a belief that early twentieth-century re... more INTRODUCTION One of the reasons for writing this book is a belief that early twentieth-century recordings can shed new light on the performing styles of the nineteenth century. The most obvious link is that many of the musicians who performed on early recordings were brought up in the nineteenth century, and their playing must include remnants of nineteenth-century style. The fact, for example, that Ysaye studied under Vieuxtemps and Wieniawski, and that Joachim played under Mendelssohn and was associated with Brahms, gives particular importance to their recordings. But the recordings of the early twentieth century have a more general relevance to nineteenth-century practice. Stated at its simplest, it is that none of the aspects of early twentieth-century style described in this book can have arisen overnight. In the use of vibrato and portamento, in flexibility of tempo, and in detailed rhythmic style, the performers of the early twentieth century can be heard moving towards what ...
Performing Music in the Age of Recording Robert Philip Listeners have enjoyed classical music rec... more Performing Music in the Age of Recording Robert Philip Listeners have enjoyed classical music recordings for more than a century, yet important issues about recorded performances have been little explored. What is the relationship between performance and recording? How are ...
A great deal of evidence survives about how Brahms and his contemporaries performed his music. Bu... more A great deal of evidence survives about how Brahms and his contemporaries performed his music. But much of this evidence - found in letters, autograph scores, treatises, publications, recordings, and more - has been hard to access, both for musicians and for scholars. This book brings the most important evidence together into one volume. It also includes discussions by leading Brahms scholars of the many issues raised by the evidence. The period spanned by the life of Brahms and the following generation saw a crucial transition in performance style. As a result, modern performance practices differ significantly from those of Brahms’s time. By exploring the musical styles and habits of Brahms’s era, this book will help musicians and scholars understand Brahms’s music better and bring fresh ideas to present-day performance. The value of the book is greatly enhanced by the accompanying CD of historic recordings - including a performance by Brahms himself.
About the book: This guide to the orchestra and orchestral life is unique in the breadth of its c... more About the book: This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestra’s continued role in a changing society. Other topics discussed include the art of orchestration, scorereading, conductors and conducting, international orchestras, recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts.
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