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, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.
• Re-examines the relationship between the score, the musical work and the performance, shedding new light on the history of performers • Combines a chronological approach with discussion of broader issues, enabling the broadest view of performance history yet • Features contributions from accomplished performers, whose practical experiences provide the volume with unique vitality and insight
Preface Colin Lawson and Robin Stowell; Part I. Performance Through History: 1. Performance today Nicholas Kenyon; 2. Political process, social structure, and musical performance in Europe since 1450 William Weber; 3. The evidence Robin Stowell; 4. The performer and the composer Corey Jamason; 5. The teaching of performance Natasha Loges and Colin Lawson; 6. Music and musical performance: histories in disjunction? David Wright; Part II. Pre-Renaissance Performance: 7. The ancient world Eleonora Rocconi; 8. Performance before c.1430: an overview John Haines; 9. Vocal performance before c.1430 Jeremy Summerly; 10. Instrumental performance before c.1430 Stefano Mengozzi; 11. Case study: Guillaume de Machaut: ballade 34, 'Quant Theseus/Ne quier veoir' John Haines; Part III. Performance in the Renaissance (c.1430–1600): 12. Performance in the Renaissance: an overview Jon Banks; 13. Vocal performance in the Renaissance Timothy McGee; 14. Instrumental performance in the Renaissance Keith Polk; 15. Case study: Seville cathedral's music in performance 1549–1599 Owen Rees; Part IV. Performance in the Seventeenth Century: 16. Performance in the seventeenth century: an overview Tim Carter; 17. Vocal performance in the seventeenth century Richard Wistreich; 18. Instrumental performance in the seventeenth century David Ponsford; 19. Case study: Monteverdi's Mass and Vespers (1610) Jonathan Wainwright; Part V. Performance in the 'Long Eighteenth Century': 20. Performance in the 'long eighteenth century': an overview Simon McVeigh; 21. Vocal performance in 'the long eighteenth century' John Potter; 22. Instrumental performance in 'the long eighteenth century' Peter Walls; 23. Case study: Mozart: Symphonies in E flat major K543, G minor K550 and C major K551 Colin Lawson; Part VI. Performance in the Nineteenth Century: 24. Performance in the nineteenth century: an overview Michael Musgrave; 25. Vocal performance in the nineteenth century Will Crutchfield; 26. Instrumental performance in the nineteenth century Ian Pace; 27. Case study: Richard Wagner: Tristan und Isolde Robin Stowell; Part VII. The Twentieth Century and Beyond: 28. Musical performance in the twentieth century: an overview Stephen Cottrell; 29. Vocal performance in the twentieth century and beyond Jane Manning and Anthony Payne; 30. Instrumental performance in the twentieth century and beyond Roger Heaton; 31. Case study: Karlheinz Stockhausen: Gruppen für drei Orchester William Mival; Part VIII: 32. The future? Colin Lawson and Robin Stowell; Bibliography.
'It provides a glorious, grandstand view of the institutions, and the social and technological forces, that have generated decisive changes in performance.' BBC Music Magazine