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. "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
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."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
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
* 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
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