Authenticity in Performance: Eighteenth-Century Case StudiesIn the last ten years or so an interest in 'authenticity' has reached a wide public. Many of the best-selling records of Bach, Handel, Haydn and Mozart are those in which period techniques and period instruments are used. There is however a danger that new 'authentic' dogmas of style and interpretation will come to replace the anachronistic dogmas of the late romantic tradition. 'The search for an 'authentic' interpretation', writes Peter le Huray in his opening chapter, 'is not the search for a single hard and fast answer, but for a range of possibilities from which to make performing decisions.' This book introduces the performer to the problems that must be faced when preparing an 'authentic' interpretation. It does so by focusing on nine representative and well-known works from the Baroque and Classical periods, defining some of the more important questions that the performer and listener should ask, and suggesting fruitful lines of enquiry. It is essential reading and reference material for player, student and listener alike. |
Contents
Bachs C major Prelude BWV 870 and 870a | 5 |
J S Bach Applicatio for Wilhelm Friedemann page | 9 |
J S Bach Praeludium BWV 870a with fingering | 10 |
J S Bach Praeludium BWV 870 edited by Czerny II | 11 |
Phrasings in J S Bachs Das wohltemperirte Clavier | 15 |
phrasing and rhythm | 16 |
slurs and articulation marks | 17 |
J S Bach Praeludium BWV 870 fingered by Samuels | 18 |
Larghetto | 96 |
72 | 97 |
Dotting in Handels Thus saith the Lord | 98 |
74 | 99 |
75 | 100 |
76 | 101 |
Bachs C minor Passacaglia BWV 582 | 102 |
78 | 108 |
The upper line of Bachs Praeludium BWV 870 in graph form | 20 |
The harmonic flow of the opening bars of the Praeludium BWV 870 | 21 |
Corellis Violin Sonata Op 5 No 11 | 24 |
Muffats Italian and French bowings | 26 |
Muffats bowing principles | 28 |
a nineteenthcentury edition compared with the original | 29 |
Allegro | 30 |
Giga | 31 |
Allegro finale | 32 |
Corelli Op 5 No 12 | 33 |
Couperins comma | 34 |
O thou that tellest | 35 |
Couperins legato fingering | 36 |
Couperins legato fingering | 37 |
Couperins fingering of LAusoniène | 38 |
Couperins trills | 39 |
Handel Trio Sonata Op 2 No 4 | 40 |
Allegro | 41 |
Adagio | 42 |
Couperins turn | 43 |
Couperins Huitième Ordre | 45 |
La Raphaèle | 48 |
Courantes | 49 |
Sarabande LUnique | 50 |
56 | 56 |
Couperins port de voix and tierce coulée | 63 |
Couperins old and new fingerings of the port de voix | 64 |
dAnglebert and Muffat compared 47 Couperins dotted coulés | 65 |
Couperins arpègements | 66 |
Allemande 50 Double dotting Raison 51 Double dotting Lully | 67 |
Quantzs dotted rhythms | 68 |
Bachs Ouvertüre in D BWV 1068 | 70 |
the allemandes of Bachs French Suites Nos 1 and 3 | 71 |
the courantes of Bachs French Suites Nos 1 and 2 | 72 |
Lully Overture to Amadis 57 C P E Bachs tirades 56 Dotting in Bachs Ouvertüre BWV 1068 | 74 |
J S Bach Fugue in D Major BWV 874 | 75 |
J S Bach Ouvertüre BWV 1066 | 76 |
J S Bach Ouvertüre BWV 831 and 831a | 77 |
the Bourrée of J S Bachs Ouvertüre BWV 1068 | 78 |
Handels Messiah | 82 |
Tosis trills | 86 |
Improvised ornament in Handels Alla fama | 87 |
Slurrings in Handels All they that see him | 91 |
Slurrings in Handels Why do the nations | 92 |
Articulation in Handels Let us break their bonds asunder | 93 |
Double dotting in Messiah 63 585558 64 65 65 66 67 67 67 68 | 95 |
Phrasings in early eighteenthcentury copies of the Passacaglia BWV 582 | 109 |
a contemporary | 113 |
Mozart String Quartet K421 as presented by Momigny | 117 |
Leopold Mozart and the K421 String Quartet | 123 |
some illustrations of the downbow principle | 125 |
Czernys continuous slurring | 126 |
some alternative bowings of a melody | 127 |
Allegro | 128 |
86 | 129 |
87 | 130 |
Leopold Mozarts fingerings | 131 |
first movement | 132 |
91 | 133 |
92 | 134 |
A late nineteenthcentury edition of Mozarts String Quartet K421 | 136 |
improvised ornamentation | 138 |
The significance of the single grace note | 139 |
passing appoggiaturas | 140 |
mordents | 141 |
Tempo di Minuetto | 142 |
Allegro maestoso | 143 |
Rondo alla Turca | 144 |
Allegro assai | 145 |
Adagio | 146 |
Allegro | 147 |
Piano Sonatas K457 and 533 Fantasy K475 | 148 |
Haydns Drum Roll Symphony in E flat No 103 | 149 |
Wind instrument tonguing | 153 |
Quantz on breathing | 154 |
Quantz on wind intonation | 155 |
the Robbins Landon edition | 159 |
Articulation in Haydns Drum Roll Symphony | 160 |
Beethovens Moonlight Sonata and late | 164 |
Beethovens fingering in the Trio WoO39 | 168 |
Phrasing in Beethovens Moonlight Sonata | 174 |
some acciaccaturas | 177 |
some appoggiaturas | 178 |
some turns | 179 |
the decelerating trill | 180 |
the arpeggio | 181 |
Four interpretations of Czerny | 182 |
an interpretation | 183 |
Notes | 187 |
Contemporary writings on performance practice | 195 |
| 201 | |
Other editions - View all
Authenticity in Performance: Eighteenth-Century Case Studies Peter Le Huray No preview available - 1990 |
Common terms and phrases
Adagio Allegro appoggiatura articulation autograph Bach Bach's baroque bars bass beat Beethoven begin bowing cadence cello century chap clearly composers composition concern continuous convention copy Corelli Couperin course Czerny discussion dotted double downbow dynamic early edition effect eighteenth-century equal especially evidence Example expressive fact figures fingerings flute four French German given hand Handel's important instance instruments interpretation Italian keyboard kind legato Leopold less London major manner markings minor movement Mozart normally notation notes observed opening orchestral organ original ornamentation Paris particularly passage pedal performance perhaps period phrase piano piece placed played player possible practice Prelude principal probably problems produce published quavers question rhythms score semiquaver simple slow slurs solo Sonata sound sources speed stops string style suggest suites taken technique third trill violin written