1857 research outputs found
Sort by
Gould, Glenn (Herbert)
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Royal Academy of Music (London)
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Hogwood, Christopher (Jarvis Haley); Kenyon, Sir Nicholas Roger; Klosé, Hyacinthe-Eléonore; Lalandi, Lina; Lefèvre, Jean Xavier; Levin, Robert (David); Müller, Iwan; Norrington, Sir Roger (Arthur Carver); Ozi, Etienne
No full textEntries in the Cambridge Encyclopedia of Historical Performance in Music as follows: Hogwood, Christopher (Jarvis Haley) (pp.308-309); Kenyon, Sir Nicholas Roger (pp.344-345); Klosé, Hyacinthe-Eléonore (pp.350-351); Lalandi, Lina (pp.350-351); Lefèvre, Jean Xavier (p.363); Levin, Robert (David) (p.368-369); Müller, Iwan (pp.420-421); Norrington, Sir Roger (Arthur Carver) (pp.436-437); Ozi, Etienne (p.467).
Description of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Review of 'Players’ work time: a history of the British Musicians’ Union, 1893–2013' by John Williamson and Martin Cloonan
No full textBBC Radio 3 record review: building a library: Richard Strauss's Till Eulenspiegels lustige Streiche
No full textIn this programme broadcast on 15 December 2018, William Mival discusses recordings of Richard Strauss's Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks).
This discussion is also available (UK only) on the Record Review Podcast, see https://www.bbc.co.uk/programmes/p06vmgy2
Flute
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Requiem: The Pity of War, Ian Bostridge, Antonio Pappano produced by Stephen Johns
No full textIn a solo song recording, the relationship between singer, pianist and producer needs to be a balance of equals. Translating the intentions of the performers into material suitable for collation into a final master recording is the primary creative concern of the producer. During recording, I reflected continuously on both the musical results and intervening discourse of the performers between takes (which even together inevitably form an incomplete representation of their own concept of a work), as well as my own readings of the scores. In this creative environment, I needed both to encourage and demand the best of the performers, while satisfying my own musical understanding and technical standards. Textual accuracy, musical consistency and interpretative authenticity were all discussed throughout the session, in order that the end result both reflected the intentions of the performers and displayed coherence and logic. Balancing ideal dramatic intent and textual accuracy with the physical limits of vocal and pianistic range drew on my deep experience of how to elicit and capture the best materials (for example, songs by Mahler and Stephan were notably taxing for the vocalist; Butterworth and Weill demand different kinds of performance energy). Post-production, meanwhile, demanded a reflective process of analysis and judgement, as material from the recording sessions was assessed, retained or discarded. This involved extensive listening and plotting of edit scores alone, and then in discussion with Antonio Pappano. The resulting final master CD represents one possible outcome of the total musical activity on session, and subsequent analysis and choice of material. Knitting the disparate elements into a cohesive and convincing whole is the creative product of both technical and artistic experience. One review noted ‘the atmosphere of sensual introversion is finely sustained… …A disc of great power and intelligence, it’s both haunting and undeniably strong’ (Gramophone)
Barrel Organ; Hurdy-Gurdy
No full textEntries in the Cambridge Encyclopedia of Historical Performance in Music as follows: Barrel Organ (p.58); Hurdy-Gurdy (pp.315-316). Description of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Animating antiquity in the Vision animée
No full textIn 1900, the soprano Jeanne Hatto recorded a scene from Gluck's 1779 opera Iphigénie en Tauride for the Phono-Cinéma-Théâtre, an exhibit at the Paris Exposition Universelle that screened silent films manually synchronised with cylinder recordings. Recently restored and digitised by the Cinémathèque Française and the Gaumont Pathé Archives, Hatto's film affords us a glimpse into the revitalising force ascribed to female performers around the turn of the century: the ability to bring ancient statues – and antiquity itself – to life through physical movement. Through their embodiment of ancient Greek figures on stage and in visions animées, prima donnas laid claim to a form of corporeal authority that had all but disappeared from the French stage over the preceding century