Zusatztext "The fact that the book focuses on notation will make it permanently useful, something to consult."--The Musical Times Informationen zum Autor Clive Brown is Professor of Applied Musicology, University of Leeds; and Consultant, London Classical Players Klappentext The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed. Zusammenfassung This is an essential book for all performers and students of Classical and Romantic music. This book is the first to examine the changing relationship, during the period 1750 - 1900, between what composers committed to paper and what performers were expected to play. Inhaltsverzeichnis Foreword Introduction 1: Accentuation in Theory 2: Accentuation in Practice 3: The Notation of Accents and Dynamics 4: Articulation 5: Articulation and Expression 6: The Notation of Articulation and Phrasing 7: String Bowing 8: Tempo 9: Alla Breve 10: Tempo Terms 11: Tempo Modification 12: Embellishment, Ornamentation, and Improvisation 13: Appoggiaturas, Trills, Turns, and Related Ornaments 14: Vibrato 15: Portamento 16: The fermata; Recitative; Arpeggiation; The Variable Dot and Other Aspects of Rhythmic Flexibility; Heavy and Light Performance Index ...

Autorentext
Clive Brown is Professor of Applied Musicology, University of Leeds; and Consultant, London Classical Players

Klappentext

The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.

Zusammenfassung
This is an essential book for all performers and students of Classical and Romantic music. This book is the first to examine the changing relationship, during the period 1750 - 1900, between what composers committed to paper and what performers were expected to play.

Inhalt

• Foreword

• Introduction

• 1: Accentuation in Theory

• 2: Accentuation in Practice

• 3: The Notation of Accents and Dynamics

• 4: Articulation

• 5: Articulation and Expression

• 6: The Notation of Articulation and Phrasing

• 7: String Bowing

• 8: Tempo

• 9: Alla Breve

• 10: Tempo Terms

• 11: Tempo Modification

• 12: Embellishment, Ornamentation, and Improvisation

• 13: Appoggiaturas, Trills, Turns, and Related Ornaments

• 14: Vibrato

• 15: Portamento

• 16: The fermata; Recitative; Arpeggiation; The Variable Dot and Other Aspects of Rhythmic Flexibility; Heavy and Light Performance

• Index