Listeners have enjoyed classical music recordings for more than a century, yet important issues about recorded performances have been little explored. What is the relationship between performance and recording? How are modern audiences affected by the trends set in motion by the recording era? What is the impact of recordings on the lives of musicians? In this wide-ranging book, Robert Philip extends the scope of his earlier pioneering book, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900-1950. Philip here considers the interaction between music-making and recording throughout the entire twentieth century. The author compares the lives of musicians and audiences in the years before recordings with those of today. He examines such diverse and sometimes contentious topics as changing attitudes toward freedom of expression, the authority of recordings made by or approved by composers, the globalization of performing styles, and the rise of the period instrument movement. Philip concludes with a thought-provoking discussion of the future of classical music performance.
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About the Author
Robert Philip is lecturer in music, The Open University. He has extensive experience as a music performer, critic, broadcaster, and writer.
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5.0 out of 5 stars
A wonderful history.,
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This review is from: Performing Music in the Age of Recording (Hardcover)
Many people think music should be a perfect as it is on our CD's. This hasn't always been the case and the quest for CD perfect performances has resulted in many cases in conservative, vanilla playing by many soloists these days. In this book the author takes pains to trace the history of performance back to the time before recording became out primary way of enjoying music. The quest for the "perfect" take or perfect performance resulted in a change in the way we enjoy music and what we expect in the concert hall. This author traces the development of performance practice via contempary reviews and programs to demonstrate how much the business of live perfromance has changed in the last century. The author takes a few side trips into "historically informed performance", and provides a detailed review of early recordings to demonstrate the change in tast that has taken place from a listener's viewpoint over the last centruy. Amply documented with some very detailed musical examples, this book would benefit from an listen along CD. But without the musical examples, any music lover with a strong base line knowledge of some essential muscial terms can greatly enjoy this book.
8 of 15 people found the following review helpful:
5.0 out of 5 stars
For Charles Rosen a masterly description of the effect recording music has had on the playing of it,
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This review is from: Performing Music in the Age of Recording (Hardcover)
Charles Rosen in 'The New York Review of Books' considers this book to be a masterly description of the effect recording music has had on the playing of it. He mentions one major effect and that is the substitution of great precision in performance at the expense of a certain spontaneity and warmth.
Rosen then in his review goes on to discuss certain technical features of playing music( especially piano) and how they have been effected by recording. This work is one especially suited for those who have real knowledge of classical music.
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Inside This Book
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printed metronome marking, heavy portamento, period instrumentalists, modem orchestra, reproducing piano, orchestral standards, early music movement, continuous vibrato, metal flute, orchestral recordings, rhythmic detail, little vibrato, orchestral playing, agogic accents, fast vibrato, historical recordings, modem performance, modern playing, rhythmic freedom, modern recordings, piano rolls Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Vienna Philharmonic, Berlin Philharmonic, Royal Albert Hall Orchestra, Henry Wood, London Philharmonic, Philadelphia Orchestra, Piano Concerto, Age of Recording, Fifth Symphony, Bohemian Quartet, Bruno Walter, Carl Flesch, Vienna Opera, World War, Clara Schumann, Concertgebouw Orchestra, Musical Times, Paris Conservatoire, Straram Orchestra, The Rite of Spring, Arnold Rosé, Busch Quartet, Florestan Trio, Fourth Symphony New!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
printed metronome marking, heavy portamento, period instrumentalists, modem orchestra, reproducing piano, orchestral standards, early music movement, continuous vibrato, metal flute, orchestral recordings, rhythmic detail, little vibrato, orchestral playing, agogic accents, fast vibrato, historical recordings, modem performance, modern playing, rhythmic freedom, modern recordings, piano rolls Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Vienna Philharmonic, Berlin Philharmonic, Royal Albert Hall Orchestra, Henry Wood, London Philharmonic, Philadelphia Orchestra, Piano Concerto, Age of Recording, Fifth Symphony, Bohemian Quartet, Bruno Walter, Carl Flesch, Vienna Opera, World War, Clara Schumann, Concertgebouw Orchestra, Musical Times, Paris Conservatoire, Straram Orchestra, The Rite of Spring, Arnold Rosé, Busch Quartet, Florestan Trio, Fourth Symphony New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 84
books:
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cites this book:
- The Rite of Spring (Dover Miniature Music Scores) by Igor Stravinsky on 8 pages
- Beaux Arts Trio by Nicholas Delbanco on 4 pages
- Piano Concerto by Robert Schumann on 4 pages
- Dictionary Of Music And Musicians (9 Volumes)) (Music Book Index) by Sir George Grove in Back Matter (1), Back Matter (2), and Back Matter (3)
- Adrian Boult by Michael Kennedy in Back Matter (1), Back Matter (2), and Back Matter (3)
See all 84 books this book cites
- The Cambridge Companion to the Concerto (Cambridge Companions to Music) by Simon P. Keefe in Back Matter (1), and Back Matter (2)
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