Inside Early Music
Conversations with Performers
- Publisher's listprice GBP 37.49
-
17 910 Ft (17 057 Ft + 5% VAT)
The price is estimated because at the time of ordering we do not know what conversion rates will apply to HUF / product currency when the book arrives. In case HUF is weaker, the price increases slightly, in case HUF is stronger, the price goes lower slightly.
- Discount 10% (cc. 1 791 Ft off)
- Discounted price 16 119 Ft (15 351 Ft + 5% VAT)
Subcribe now and take benefit of a favourable price.
Subscribe
17 910 Ft
Availability
printed on demand
Why don't you give exact delivery time?
Delivery time is estimated on our previous experiences. We give estimations only, because we order from outside Hungary, and the delivery time mainly depends on how quickly the publisher supplies the book. Faster or slower deliveries both happen, but we do our best to supply as quickly as possible.
Product details:
- Publisher OUP USA
- Date of Publication 30 October 2003
- ISBN 9780195169454
- Binding Paperback
- No. of pages432 pages
- Size 239x151x29 mm
- Weight 653 g
- Language English
- Illustrations numerous music examples 0
Categories
Short description:
Bernard D. Sherman invited many of the leading practitioners to speak out about their passion for early music - why they are attracted to this movement and how it shapes their work. Whether debating how to perform Monteverdi's madrigals or comparing Andrew Lawrence-King's Renaissance harp playing to jazz, the performers convey not only a devotion to the spirit of period performance, but the joy of discovery as they struggle to bring the music most truthfully to life.
MoreLong description:
The attempt to play music with the styles and instruments of its era--commonly referred to as the early music movement--has become immensely popular in recent years. For instance, Billboard's "Top Classical Albums" of 1993 and 1994 featured Anonymous 4, who sing medieval music, and the best-selling Beethoven recording of 1995 was a period-instruments symphony cycle led by John Eliot Gardiner, who is Deutsche Grammophon's top-selling living conductor. But the movement has generated as much controversy as it has best-selling records, not only about the merits of its results, but also about the validity of its approach. To what degree can we recreate long-lost performing styles? How important are historical period instruments for the performance of a piece? Why should musicians bother with historical information? Are they sacrificing art to scholarship?
Now, in Inside Early Music, Bernard D. Sherman has invited many of the leading practitioners to speak out about their passion for early music--why they are attracted to this movement and how it shapes their work. Readers listen in on conversations with conductors Gardiner, William Christie, and Roger Norrington, Peter Phillips of the Tallis Scholars, vocalists Susan Hellauer of Anonymous 4, forte pianist Robert Levin, cellist Anner Bylsma, and many other leading artists. The book is divided into musical eras--Medieval, Renaissance, Baroque, and Classic and Romantic--with each interview focusing on particular composers or styles, touching on heated topics such as the debate over what is "authentic," the value of playing on period instruments, and how to interpret the composer's intentions. Whether debating how to perform Monteverdi's madrigals or comparing Andrew Lawrence-King's Renaissance harp playing to jazz, the performers convey not only a devotion to the spirit of period performance, but the joy of discovery as they struggle to bring the music most truthfully to life. Spurred on by Sherman's probing questions and immense knowledge of the subject, these conversations movingly document the aspirations, growing pains, and emerging maturity of the most exciting movement in contemporary classical performance, allowing each artist's personality and love for his or her craft to shine through.
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.
"Excellent . . . . The teeming practical detail of this book is a great achievement in itself, but equally significant is its documentation of the major conceptual issues behind the historical-performance movement" --Anthony Pryer, The Times Literary Supplement, Jan. 16, 1998
Table of Contents:
Preface and Acknowledgments
Introduction: An Atmosphere of Controversy
PART ONE: The Middle Ages, Plainchant, and "Otherness"
A Different Sense of Time-Marcel Pérès on plainchant
You Can't Sing a Footnote--Susan Hellauer on performing medieval music
Vox Feminea--Barbara Thornton on Hildegard von Bingen
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"
There Is No Such Thing as a Norm--Paul Hillier on Renaissance sacred vocal music
Other Kinds of Beauty--Peter Phillips on Palestrina and the Tallis Scholars
Singing Like a Native--Alan Curtis, Rinaldo Alessandrini, and Anthony Rooley on Monteverdi; Afterword
Emotional Logic--Andrew Lawrence-King on instrumental music and improvisation
PART THREE: The Baroque
Consistent Inconsistencies--John Butt on Bach
"One Should Not Make a Rule"--Gustav Leonhardt on Baroque keyboard music
Aladdin's Lamp-- Anner Bylsma on the 'cello (and Vivaldi)
Beyond the Beautiful Pearl--Julianne Baird on the Italian and English styles
You Can Never Be Right for All Time--Nicholas McGegan on Handel
At Home with the Idiom--William Christie on the French Baroque
Triple Counterpoint:--Jeffrey Thomas, Philippe Herreweghe, and John Butt on Singing Bach's Sacred Works
PART FOUR: Classic and Romantic
Restoring Ingredients--Malcolm Bilson on the Fortepiano
Speaking Mozart's Lingo--Robert Levin on Mozart and Improvisation
Taking Music off the Pedestal--Roger Norrington on Beethoven
Postscript: "Classical" and "Romantic" Performance Practice in Beethoven
Reviving Idiosyncrasies--John Eliot Gardiner on Berlioz and Brahms
Reinventing Wheels--Joshua Rifkin on Interpretation and Rhetoric
Epilog
