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Bernard D. Sherman
This backorder may take up to weeks to be delivered. Tracking is available for this item via Australia Post. Synopsis Product Details Delivery The attempt to play music with the styles and instruments of its era--commonly referred to as the early music movement--has become immensely popular in recent years. For instance, Billboard's "Top Classical Albums" of and featured Anonymous 4, who sing medieval music, and the best-selling Beethoven recording of was a period-instruments symphony cycle led by John Eliot Gardiner, who is Deutsche Grammophon's top-selling living conductor.
But the movement has generated as much controversy as it has best-selling records, not only about the merits of its results, but also about the validity of its approach.
To what degree can we recreate long-lost performing styles? How important are historical period instruments for the performance of a piece? Why should musicians bother with historical information? Are they sacrificing art to scholarship? Sherman has invited many of the leading practitioners to speak out about their passion for early music--why they are attracted to this movement and how it shapes their work. The book is divided into musical eras--Medieval, Renaissance, Baroque, and Classic and Romantic--with each interview focusing on particular composers or styles, touching on heated topics such as the debate over what is "authentic," the value of playing on period instruments, and how to interpret the composer's intentions.
Inside Early Music Conversations With Performers
Whether debating how to perform Monteverdi's madrigals or comparing Andrew Lawrence-King's Renaissance harp playing to jazz, the performers convey not only a devotion to the spirit of period performance, but the joy of discovery as they struggle to bring the music most truthfully to life. Spurred on by Sherman's probing questions and immense knowledge of the subject, these conversations movingly document the aspirations, growing pains, and emerging maturity of the most exciting movement in contemporary classical performance, allowing each artist's personality and love for his or her craft to shine through.
From medieval plainchant to Brahms' orchestral works, Inside Early Music takes readers-whether enthusiasts or detractors-behind the scenes to provide a masterful portrait of early music's controversies, challenges, and rewards. Let's Try No, Thanks. Select the List you'd like to categorise as, or add your own. Here you can mark if you have read this book, reading it or want to read. You added your first item into your Library. The fun begins. Add a Review. Inside Early Music by Bernard D.
Inside Early Music: Conversations with Performers
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Newsletter Be the first to know, sign up for our newsletter:. Payment methods: Proudly secured by:. Copyright The opera was premiered at the court of Frederick the Great in Arias for Cuzzoni, Durastanti, Senesino, Montagnana. Harmonia Mundi USA, The notes are by Andrew Porter. Theodora selections. Nicholas McGegan.
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Philip Pickett and the New London Consort. This anthology is derived from six other releases from to There are seventeen instrumental and vocal selections. Artistic personnel is not listed. Lamentations, Motets, String Music.
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- Inside Early Music: Conversations with Performers - Oxford Scholarship.
Theatre of Voices, dir. David Douglass. Intermixed here are the two sets of Lamentations, six Latin motets, three English sacred pieces, and seven string arrangements of vocal works. Gustafson fandm. Return to beginning. Items appearing in JSCM may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the Editor-in-Chief of JSCM.
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