A01=Dorottya Fabian
Agogic Stresses
articulation
Author_Dorottya Fabian
Bach Performance Practice
Bach's Choral Works
Bach's Music
Bach’s Choral Works
Bach’s Music
baroque interpretation
baroque performance style evolution
Boy Den
brandenburg
Brandenburg Concertos
Category=AVLA
Collegium Musicum
Concentus Musicus
concertos
Dotted Figures
dynamics
early
early music analysis
Early Music Movement
Eighteenth Century Instruments
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Es Ist Vollbracht
Flexible Touch
goldberg
Goldberg Variations
Historical Performance Movement
historically informed performance
john
Male Alto
matthew
Metronome Marks
movement
music
musicological research
Oboe Da Caccia
ornamentation
passion
period instrument techniques
Period Instruments
rhythm
Rhythmic Alteration
Schola Cantorum
Schola Cantorum Basiliensis
St John Passion
St Matthew Passion
tempo
Tempo Choices
twentieth-century recordings
variations
Product details
- ISBN 9781138504905
- Weight: 476g
- Dimensions: 156 x 234mm
- Publication Date: 05 Feb 2018
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Analysing over 100 recordings from 1945-1975, this book examines twentieth-century baroque performance practice as evinced in all the commercially available recordings of J.S. Bach's Passions, Brandenburg Concertos and Goldberg Variations. Dorottya Fabian presents a qualitative, style-orientated history of the early music movement in its formative years through a comparison of the performance style heard in these recordings with the scholarly literature on Bach performance practice. Issues explored in the book include the availability of resources, balance, tempo, dynamics, ornamentation, rhythm and articulation. During the decades following the Second World War, the early music movement was more concerned with the revival of repertoire than with the revival of performance style which meant that its characteristics and achievements differed essentially from those of the later 1970s and 1980s. Period practice techniques were not practised even by ensembles using eighteenth-century instruments. Yet, as this survey reveals, several recordings of the period provide unexpectedly stylish interpretations using metre and pulse to punctuate the music. Such metric performance and appropriate articulation helped to clarify structure and texture and assisted in the creation of a musical discourse - the pre-eminent goal of baroque compositions.
Dorottya Fabian, The University of New South Wales, Australia
