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Informationen zum Autor David Milsom! who has written widely on nineteenth-century performing practice! is the author of Theory and Practice in Late Nineteenth-Century Violin Performance 1850-1900 (Ashgate! Aldershot! 2003). He is an active violinist and violist! specialising in late nineteenth-century violin performing practice and an experienced instrumental teacher. He is a lecturer in music at the University of Huddersfield. Zusammenfassung Brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of the concert repertoire. In so doing, this title provides a wide range of subject-based scholarship. Inhaltsverzeichnis Contents: Introduction; Part I Style and Purpose: Appraising 18th and 19th Century Aesthetics: Performing Classical repertoire: the unbridgeable gulf between contemporary practice and historical reality! Clive Brown; Mozart as early music: a Romantic antidote! Laurence Dreyfus; Listening and responding to the evidence of early 20th-century performance! Daniel Leech-Wilkinson. Part II Studies in Historical Sources: Mathis Lussy's Traite de l'expressione musicale as a window into performance practice! Michael D. Green; Quantz's unegal: implications for the performance of 18th-century music! Claire A. Fontijn; The recordings of Joachim! YsaÃe and Sarasate in light of their reception by 19th-century British critics! Dorottya Fabian. Part III Instruments! Ensembles and Conducting: Towards a Verdian ideal of singing: emancipation from modern orthodoxy! Roger Freitas; Brahms's pianos and the performance of his late piano works! Camilla Cai; The orchestra in Beethoven's Vienna! Clive Brown; Mozart's Viennese orchestras! Dexter Edge; Rejected traditions: ensemble placement in 19th-century Paris! Donna M. Di Grazia; Style and sonority in Wagner string performance! David Milsom; The origins of the ideology of authenticity in interpretation: Mendelssohn! Berlioz and Wagner as conductors! José Antonio Bowen. Part IV Tempo and Rhythm: Historical performance! metronome marks and tempo in Beethoven's symphonies! Clive Brown; The case of compensating rubato! Sarah Martin; Tempo as an expressive element in the late Romantic lied! Edward F. Kravitt; New light on late 18th-century tempo: William Crotch's pendulum markings! Emanuel Rubin. Part V Aspects of Notation: Dots and strokes in late 18th- and 19th-century music! Clive Brown; The expressive pause: punctuation! rests and breathing in England 1770-1850! Robert Toft; Beggar at the door: the rise and fall of portamento in singing! John Potter; Bowing styles! vibrato and portamento in 19th-century violin playing! Clive Brown; Port ...
