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Editorial Reviews
Review
"This book presents a concise overview of the main topics of historical performance practice. It is rather remarkable how the authors, in little over 200 pages, address so many practical issues of historical performance practice and help the reader get a firm grip on the main ideas of some rather complex topics. Lawson and Stowell have presented a fine study of performance practice and we look forward to other forthcoming volumes in the series, particularly John Humphries' The Early Horn: A Practical Introduction. Jeffrey Nussbaum, Historic Brass Society Newsletter
Product Description
This volume offers an up-to-date overview of historical performance, surveying the various current issues (such as the influence of recording) and suggesting possible future developments. Its core comprises discussion of the period performer's myriad primary source materials and their interpretation, the various aspects of style and general technique that combine to make up a well-grounded, period interpretation, and a survey of performance conditions and practices, focusing on the period c. 1700-c. 1900. Many of the principles outlined are illustrated in case studies of works by Bach, Mozart, Berlioz and Brahms.
See all Editorial Reviews
"This book presents a concise overview of the main topics of historical performance practice. It is rather remarkable how the authors, in little over 200 pages, address so many practical issues of historical performance practice and help the reader get a firm grip on the main ideas of some rather complex topics. Lawson and Stowell have presented a fine study of performance practice and we look forward to other forthcoming volumes in the series, particularly John Humphries' The Early Horn: A Practical Introduction. Jeffrey Nussbaum, Historic Brass Society Newsletter
Product Description
This volume offers an up-to-date overview of historical performance, surveying the various current issues (such as the influence of recording) and suggesting possible future developments. Its core comprises discussion of the period performer's myriad primary source materials and their interpretation, the various aspects of style and general technique that combine to make up a well-grounded, period interpretation, and a survey of performance conditions and practices, focusing on the period c. 1700-c. 1900. Many of the principles outlined are illustrated in case studies of works by Bach, Mozart, Berlioz and Brahms.
See all Editorial Reviews
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