The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer’s experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians, and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, the History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.
Colin Lawson is Director of the Royal College of Music, London. He has an international profile as a period clarinettist and has played principal in most of Britain’s leading period orchestras, notably The Hanover Band, the English Concert and the London Classical Players, with whom he has recorded extensively and toured worldwide. He has published widely, and is co-editor, with Robin Stowell, of a series of Cambridge Handbooks to the Historical Performance of Music, for which he co-authored an introductory volume and contributed a book on the early clarinet.
Robin Stowell is Professor of Music and Director of the Centre for Research into Historically Informed Performance at Cardiff University. He is also a violinist/period violinist, and he has performed, broadcast and recorded with the Academy of Ancient Music and other period ensembles. He is the author of Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (1985), and his more recent major publications include The Cambridge Companion to the String Quartet (2003) and The Early Violin and Viola (2001).
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Tokyo, Mexico City
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521896115
© Cambridge University Press 2012
This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
First published 2012
Printed in the United Kingdom at the University Press, Cambridge
A catalogue record for this publication is available from the British Library
ISBN 978-0-521-89611-5 Hardback
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
List of illustrations
|
ix |
List of musical examples
|
x |
Notes on contributors
|
xiii |
Editors’ preface
|
xxi |
PART I Performance through history
|
1 |
1. Performance today
Nicholas Kenyon
|
3 |
2. Political process, social structure and musical performance in Europe since 1450
William Weber
|
35 |
3. The evidence
Robin Stowell
|
63 |
4. The performer and the composer
Corey Jamason
|
105 |
5. The teaching of performance
Natasha Loges and Colin Lawson
|
135 |
6. Music and musical performance: histories in disjunction?
David Wright
|
169 |
PART II Pre-Renaissance performance
|
207 |
7. The Ancient World
Eleonora Rocconi
|
209 |
8. Performance before c. 1430: an overview
John Haines
|
231 |
9. Vocal performance before c. 1430
Jeremy Summerly
|
248 |
10. Instrumental performance before c. 1430
Stefano Mengozzi
|
261 |
11. Case study: Guillaume de Machaut, ballade 34, ‘Quant Theseus / Ne quier veoir’
John Haines
|
279 |
PART III Performance in the Renaissance (c. 1430–1600)
|
295 |
12. Performance in the Renaissance: an overview
Jon Banks
|
297 |
13. Vocal performance in the Renaissance
Timothy J. McGee
|
318 |
14. Instrumental performance in the Renaissance
Keith Polk
|
335 |
15. Case study: Seville Cathedral’s music in performance, 1549–1599
Owen Rees
|
353 |
PART IV Performance in the seventeenth century
|
375 |
16. Performance in the seventeenth century: an overview
Tim Carter
|
377 |
17. Vocal performance in the seventeenth century
Richard Wistreich
|
398 |
18. Instrumental performance in the seventeenth century
David Ponsford
|
421 |
19. Case study: Monteverdi, Vespers (1610)
Jonathan P. Wainwright
|
448 |
PART V Performance in the ‘long eighteenth century’
|
471 |
20. Performance in the ‘long eighteenth century’: an overview
Simon McVeigh
|
473 |
21. Vocal performance in the ‘long eighteenth century’
John Potter
|
506 |
22. Instrumental performance in the ‘long eighteenth century’
Peter Walls
|
527 |
23. Case study: Mozart, Symphonies in E flat major K543, G minor K550 and C major K551
Colin Lawson
|
552 |
PART VI Performance in the nineteenth century
|
575 |
24. Performance in the nineteenth century: an overview
Michael Musgrave
|
577 |
25. Vocal performance in the nineteenth century
Will Crutchfield
|
611 |
26. Instrumental performance in the nineteenth century
Ian Pace
|
643 |
27. Case study: Richard Wagner, Tristan und Isolde
Robin Stowell
|
696 |
PART VII The twentieth century and beyond
|
723 |
28. Musical performance in the twentieth century and beyond: an overview
Stephen Cottrell
|
725 |
29. Vocal performance in the twentieth century and beyond
Jane Manning and Anthony Payne
|
752 |
30. Instrumental performance in the twentieth century and beyond
Roger Heaton
|
778 |
31. Case study: Karlheinz Stockhausen, Gruppen für drei Orchester
William Mival
|
798 |
Part VIII
|
815 |
32. The future?
Colin Lawson and Robin Stowell
|
817 |
Select bibliography
|
834 |
Index
|
894 |
5.1a–c.Illustrations of the façade, the concert hall and stairwell of the building Hochschule für Musik und Theater ‘Felix Mendelssohn
Bartholdy’, Leipzig. Bibliothek/Archiv, A, II. 3/1: from the prospectus Das Königliche Konservatorium der Musik zu Leipzig, 1900
|
155 |
8.1. Conventional view of medieval music repertoires
|
232 |
8.2. Revised view of medieval music repertoires
|
234 |
8.3. Standard medieval repertoires revised
|
234 |
10.1. Country scene with players of tabor and pipe, and gittern. From Lyon Municipal Library, MS 27, fol. 13r (fourteenth century)
(Photo, Lyon Municipal Library, Didier Nicole)
|
266 |
10.2. Giovanni del Biondo, Musical angels (fourteenth century), showing two players of organette and fiddle (courtesy of the National Museums, Liverpool, Walker Art
Gallery)
|
273 |
10.3. Glorification of St Francis (attributed to Antonio Vite, School of Giotto); detail showing a wind ensemble (two shawms and bagpipe), organistrum and
psaltery (fourteenth century). Church of St Francesco, Pistoia, Italy
|
277 |
15.1. Medallion on the choir stand in the coro of Seville Cathedral, showing a group of singers
|
362 |
15.2. Medallion on the choir stand in the coro of Seville Cathedral, showing the ministriles
|
364 |
22.1. Haydn instrumental works – percentage distribution by key
|
538 |
22.2. Mozart instrumental music – percentage distribution by key
|
538 |
22.3. Chopin distribution of works by key
|
539 |
8.1. Opening of the lament for Charlemagne
|
238 |
8.2. Opening of ‘Bele Yolanz en ses chambres seoit’ (Paris, Bibliothèque Nationale de France, f. fr. 20050, fol. 64v)
|
239 |
8.3. Prose of the Ass from the Feast of Fools
|
243 |
8.4. Banquet song from Renart le nouvel
|
244 |
9.1. The opening of Léonin’s Viderunt omnes transcribed in measured rhythm (Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1, fol. 99)
|
257 |
9.2. The opening of Léonin’s Viderunt omnes transcribed as free rhythm (Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1 fol. 99)
|
258 |
10.1. In seculum viellatoris (Bamberg, Staatsbibliothek, MS. Lit. 115, fol. 63v), opening. The example is modelled after G. A. Anderson (ed.), Compositions of the Bamberg Manuscript (American Institute of Musicology, 1977), pp. 138–9 (used by permission of the American Institute of Musicology, Inc., Middleton,
WI)
|
274 |
10.2. T’Andernaken al op den Rijn (Trent, Castello del Buonconsiglio, MS. 87, fol. 198v–199r), opening. The example is modelled after T’Andernaken: Ten Settings in Three, Four, and Five Parts, ed. R. Taruskin (Coconut Grove, FL: Ogni Sorte Editions, 1981), pp. 9–10
|
276 |
11.1. Machaut’s ballade 34, ‘Quant Theseus / Ne quier veoir’, edited from the Reina Codex (Paris, Bibliothèque Nationale de France,
nouv. acqu. fr. 6771, fols. 54v–55r)
|
288 |
15.1. Guerrero, Duo Seraphim, opening
|
373 |
18.1. Froberger, Toccata 3, bars 5–7
|
428 |
18.2. Froberger, Toccata 1, bars 1–3
|
429 |
18.3. Louis Couperin, opening of Prélude à l’imitation de Mr. Froberger
|
429 |
18.4. Buxtehude, Praeludium in G minor (ostinato theme, fugue subjects and time signatures)
|
430 |
22.1. Francesco Geminiani, The Art of playing on the Violin (London, 1751), Essempio VIII, section 20
|
546 |
25.1a.Schumann, ‘Die beiden Grenadiere’
|
618 |
25.1b.Handel, Judas Maccabeus, ‘Sound an Alarm’
|
618 |
25.2a.Bellini, La sonnambula, ‘Ah, non credea mirarti’
|
619 |
25.2b.Verdi, La traviata, ‘Pura siccome un angelo’
|
619 |
25.3. Verdi, Ernani, ‘O sommo Carlo’
|
621 |
25.4a.Portugal (Portogallo), La morte di Mitridate, ‘Teneri e cari affetti’
|
626 |
25.4b.Cimarosa, Penelope, ‘Ah, serena il mesto ciglio’
|
626 |
25.5. Pacini, Niobe, Didone, ‘Il soave e bel contento’
|
627 |
25.6. Mercadante, Andronico, ‘Soave immagine’
|
627 |
25.7. De Garaudé, Méthode de chant
|
628 |
25.8. Appoggiatura-based ornamental patterns in Bellini, Norma, and Verdi, Nabucco
|
628 |
25.9. Zingarelli, Giulietta e Romeo, ‘Sommo ciel’
|
629 |
25.10a–c.Nineteenth-century final cadenzas
|
630 |
25.11.Verdi, Ernani, ‘Infelice, e tu credevi’
|
630 |
25.12.Bellini, Norma, three fragments from the role of Pollione as altered by Giovanni Mario
|
632 |
25.13.Facsimile from García the younger’s Treatise
|
639 |
25.14.Haydn, ‘She never told her love’ (Hob. XXVIa:34)
|
641 |
26.1. Beethoven, String Quartet in B flat Op. 130, opening of fourth movement
|
646 |
26.2. Schubert, Symphony No. 9 in C D944, finale
|
647 |
26.3a.Schubert, String Quartet in G D887, first movement
|
649 |
26.3b.Schubert, Impromptu D899 No. 2
|
649 |
26.4a.Paganini, Violin Concerto No. 1 in E flat major, opening
|
650 |
26.4b.Paganini, Violin Concerto No. 1 in E flat major, opening, as played
|
650 |
26.5. Portamento as suggested in treatises of Habeneck and de Bériot
|
651 |
26.6. Liszt, Grande Fantaisie de Bravoure sur la Clochette de Paganini
|
653 |
26.7. Chopin, Waltz in A flat Op. 69 No. 1, execution as described by Kleczyński
|
654 |
26.8. Berlioz, Overture to King Lear, bars 364–8
|
661 |
26.9. Mendelssohn, Violin Concerto Op. 64, Allegro molto appassionato. Edition of David, with implied portamenti notated
|
666 |
26.10.Schumann, Fantasy Op. 17
|
667 |
26.11.Robert Schumann, Arabeske Op. 18
|
668 |
26.12a.Liszt, Sonata in B minor, opening
|
673 |
26.12b.Liszt, Sonata in B minor, towards end of first ‘movement’
|
674 |
26.12c.Liszt, Sonata in B minor, conclusion
|
674 |
26.13.Liszt, Consolation No. 3
|
677 |
26.14.César Franck, Violin Sonata, from fourth movement
|
679 |
26.15.Wagner, Overture to Die Meistersinger von Nürnberg, bars 89–90, 97–8
|
681 |
26.16.Bruckner, Symphony No. 7, Adagio. Funeral Music
|
684 |
26.17.Brahms, Intermezzo Op. 119 No. 1
|
685 |
26.18a.Brahms, Ein deutsches Requiem, opening of seventh movement, ‘Selig sind die Toten’
|
686 |
26.18b.Brahms, String Quartet in C minor Op. 51 No. 1, third movement.
|
686 |
26.18c.Brahms, Violin Concerto, first movement, bars 347–52, 460–3, solo part
|
687 |
26.19.Rimsky-Korsakov, Russian Easter Overture
|
691 |