Inside Early Music: Conversations with Performers

Abstract

PREFACE AND ACKNOWLEDGMENTS INTRODUCTION: AN ATMOSPHERE OF CONTROVERSY PART ONE: THE MIDDLE AGES, PLAINCHANT, AND OTHERNESS 1. A Different Sense of Time-Marcel Peres on plainchant 2. You Can't Sing a Footnote-Susan Hellauer on performing medieval music 3. Vox Feminea-Barbara Thornton on Hildegard von Bingen 4. The Colonizing Ear-Christopher Page on medieval music Postscript: The Middle Ages, Plainchant, and Otherness PART TWO: THE RENAISSANCE, OXBRIDGE, AND ITALY THE MODERN ENGLISH COUNTENANCE 5. There Is No Such Thing as a Norm-Paul Hillier on Renaissance sacred vocal music 6. Other Kinds of Beauty-Peter Phillips on Palestrina and the Tallis Scholars 7. Singing Like a Native-Alan Curtis, Rinaldo Alessandrini, and Anthony Rooley on Monteverdi Afterword 8. Emotional Logic-Andrew Lawrence-King on instrumental music and improvisation PART THREE: THE BAROQUE 9. Consistent Inconsistencies-John Butt on Bach 10. One Should Not Make a Rule-Gustav Leonhardt on Baroque keyboard music 11. Aladdin's Lamp- Anner Bylsma on the 'cello (and Vivaldi) 12. Beyond the Beautiful Pearl-Julianne Baird on the Italian and English styles 13. You Can Never Be Right for All Time-Nicholas McGegan on Handel 14. At Home with the Idiom-William Christie on the French Baroque 15. Triple Counterpoint:-Jeffrey Thomas, Philippe Herreweghe, and John Butt on Singing Bach's Sacred Works PART FOUR: CLASSIC AND ROMANTIC 16. Restoring Ingredients-Malcolm Bilson on the Fortepiano 17. Speaking Mozart's Lingo-Robert Levin on Mozart and Improvisation 18. Taking Music off the Pedestal-Roger Norrington on Beethoven Postscript: Classical and Romantic Performance Practice in Beethoven 19. Reviving Idiosyncrasies-John Eliot Gardiner on Berlioz and Brahms 20. Reinventing Wheels-Joshua Rifkin on Interpretation and Rhetoric EPILOG

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