Cambridge University Press
9780521896115 - The Cambridge History of Musical Performance - By Colin Lawson and Robin Stowell
Frontmatter/Prelims

The Cambridge History of Musical Performance

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).


The Cambridge History of Musical Performance

Colin Lawson and Robin Stowell


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.


Contents

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

Illustrations

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

Musical examples

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



© Cambridge University Press