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Performing Beethoven (Cambridge Studies in Performance Practice) [Paperback]

Robin Stowell

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Book Description

17 Nov 2005 Cambridge Studies in Performance Practice (Book 4)
The ten essays in this volume explore different aspects of the performance of instrumental works by Beethoven. Each essay discusses performance issues from Beethoven's time to the present, whether the objective be to realise a performance in an historically appropriate manner, to elucidate the interpretation of Beethoven's music by conductors and performers, to clarify transcriptions by editors or to reconstruct the experience of the listener in various different periods. Four contributions focus on the piano music while another group concentrates on Beethoven's music for strings. These chapters are complemented by an examination of Beethoven's exploitation of the developing wind choir, an evaluation of early twentieth-century recordings as pointers to early nineteenth-century performance practice and an historical survey of rescorings in Beethoven's symphonies.

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'This beautifully produced book is a collection of ten scholarly yet remarkably disparate articles, which will interest performers (whether on pianoforte or fortepiano, strings or wind) and listeners of Beethoven's music alike.' BBC Music Magazine

Book Description

The ten essays in this volume explore different aspects of the performance of instrumental works by Beethoven. Each essay discusses performance issues from Beethoven's time to the present whether the aim be to realize a performance in an historically appropriate manner, to elucidate the interpretation of Beethoven's music by conductors and performers, to clarify transcriptions by editors or to reconstruct the experience of the listener in various different periods.

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It was not long ago that London's musical public was swept into a controversy triggered off by Adolf Aber's strong words that graced the first page of The Musical Times of June 1948: the recent [Adolf] Busch concerts at Kingsway Hall stood out as high-lights of the concert season . . . the chief factor, it cannot be doubted, was the conviction that the music of Bach and Handel was being performed in the only right and proper way . . . many in the audience heard for the first time in their lives how these works ought to sound. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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