Bernard D. Sherman

Inside Early Music

Conversations with Performers

• Broschiertes Buch

Produktbeschreibung

From medieval plainchant to Brahms' orchestral works, Inside Early Music takes readers-whether enthusiasts or detractors-behind the scenes to provide a masterful portrait of early music's controversies, challenges, and rewards.

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"An important contribution to our understanding of the early music phenomenon. On topics ranging from Hildegard to Brahms, Sherman knows whom to ask and what to ask them." - Stewart Carter, Wake Forest University, editor of A Performer's Guide to Seventeenth Century Music and the Historic Brass Society Journal, former editor of Historical Performance

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Produktdetails

• Verlag: Oxford University Press
• Seitenzahl: 432
• Erscheinungstermin: 1. September 2003
• Englisch
• Abmessung: 234mm x 156mm x 23mm
• Gewicht: 652g
• ISBN-13: 9780195169454
• ISBN-10: 019516945X
• Artikelnr.: 22224300

Autorenporträt

About the Author: Bernard D. Sherman writes about early music and other topics for Fanfare, Historical Performance, Early Music America, Strings, and Piano and Keyboard, among other journals and magazines. He wrote the article on "Authenticity in Musical Performance" for the forthcoming Encyclopedia of Aesthetics (OUP, 1998).

Inhaltsangabe

* Preface and Acknowledgments
* Introduction: An Atmosphere of Controversy
*
* PART ONE: The Middle Ages, Plainchant, and "Otherness"
* 1.: A Different Sense of Time-Marcel Pérès on plainchant
* 2.: You Can't Sing a Footnote--Susan Hellauer on performing medieval
music
* 3.: Vox Feminea--Barbara Thornton on Hildegard von Bingen
* 4.: The Colonizing Ear--Christopher Page on medieval music
* Postscript: The Middle Ages, Plainchant, and "Otherness"
*
* PART TWO: The Renaissance, Oxbridge, and Italy
* The Modern "English Countenance"
* 5.: There Is No Such Thing as a Norm--Paul Hillier on Renaissance
sacred vocal music
* 6.: Other Kinds of Beauty--Peter Phillips on Palestrina and the
Tallis Scholars
* 7.: Singing Like a Native--Alan Curtis, Rinaldo Alessandrini, and
Anthony Rooley on Monteverdi; Afterword
* 8.: Emotional Logic--Andrew Lawrence-King on instrumental music and
improvisation
*
* PART THREE: The Baroque
* 9.: Consistent Inconsistencies--John Butt on Bach
* 10.: "One Should Not Make a Rule"--Gustav Leonhardt on Baroque
keyboard music
* 11.: Aladdin's Lamp-- Anner Bylsma on the 'cello (and Vivaldi)
* 12.: Beyond the Beautiful Pearl--Julianne Baird on the Italian and
English styles
* 13.: You Can Never Be Right for All Time--Nicholas McGegan on Handel
* 14.: At Home with the Idiom--William Christie on the French Baroque
* 15.: Triple Counterpoint:--Jeffrey Thomas, Philippe Herreweghe, and
John Butt on Singing Bach's Sacred Works
*
* PART FOUR: Classic and Romantic
* 16.: Restoring Ingredients--Malcolm Bilson on the Fortepiano
* 17.: Speaking Mozart's Lingo--Robert Levin on Mozart and
Improvisation
* 18.: Taking Music off the Pedestal--Roger Norrington on Beethoven
* Postscript: "Classical" and "Romantic" Performance Practice in
Beethoven
* 19.: Reviving Idiosyncrasies--John Eliot Gardiner on Berlioz and
Brahms
* 20.: Reinventing Wheels--Joshua Rifkin on Interpretation and Rhetoric
*
* Epilog