Recordings and histories of performance style

Leech-Wilkinson, Daniel

doi:10.1017/ccol9780521865821.028

Cited by 27 publications

(31 citation statements)

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“…Specific approaches to phrasing, dynamics, bowing, tempo, rhythmic choices, vibrato, portamento, fingerings, and the like found to blur what appeared to be period modes. Such remarkable diversity of nuances was mostly traced in studies focusing on J. S. Bach’s six sonatas and partitas for solo violin (e.g., Pulley, 2002; Fabian, 2005; Ornoy, 2008; Cheng and Chew, 2008; Fabian and Ornoy, 2009; Dimov, 2010; Sretenovic and Adamovic, 2012; Gyulnazarova, 2013; Sarlo, 2015), but was also reported in recordings of several additional pieces written for either the violin (e.g., Levy, 2001; Katz, 2003; Lee, 2006; Stijn, 2009; Leech-Wilkinson, 2009) or other stringed instruments (e.g., Turner, 2004; November, 2010, 2011; Milisavljevic, 2011; Hong, 2014). …”

Section: Introductionmentioning

confidence: 94%

“…The latter, apparent through extended use of inner phrase modifications (accelerando–rallentando), agogic accents (i.e., the lengthening or shortening of notes) or ‘melodic rubato’ (i.e., the use of a flexible melody upon a solid and strict-pulsed accompaniment) was found to be a prominent factor emerging from an overall rhetorical approach toward the musical language. Recordings made during these decades are extrapolated as representative of 19th century performance traditions (Philip, 1993, 2004; Brown, 2003; Katz, 2003; Milsom, 2003; Leech-Wilkinson, 2009). …”

Section: Introductionmentioning

confidence: 99%

“…Harmonics were considerably reduced, together with avoiding open strings by fingering the note on its adjacent lower string. Articulation, while certainly varied in its manifestation, has tended toward considerable use of tenuto, seamless bowings, long and smooth legato lines used alongside even portato strokes, and clear-cut, articulated enunciation of staccato notes boosting brilliant virtuosic display and superb technical command (Stowell, 1998; Katz, 2006; Fabian, 2006, 2009; Ornoy, 2006, 2008; Fabian and Ornoy, 2009; Leech-Wilkinson, 2009; Sarlo, 2015). …”

Section: Introductionmentioning

confidence: 99%

“…Together with the focus on early music repertoire and a significant engagement with HIP specialists throughout ones’ long years of artistic training, they seem to grossly define a violinist’s affiliation with the HIP style. On the other hand, inclination toward features that are more in line with the intermediate recording period are considered representatives of the ‘mainstream’ (MS) performance characteristics (Fabian, 2005, 2015; Ornoy, 2006, 2008, 2016; Leech-Wilkinson, 2009). …”

Section: Introductionmentioning

confidence: 99%

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Analysis of Contemporary Violin Recordings of 19th Century Repertoire: Identifying Trends and Impacts

Ornoy

Cohen

2018

Front. Psychol.

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The study of violin recordings as evidence of interpretation and performance approach has been quite extensive throughout recent decades. Findings such as the limited use of vibrato in early recordings, the relative stabilization of tempo and rhythm characteristic of mid-20th century violin playing, or the effect of ‘historically informed performance’ (HIP) on ‘mainstream’ (MS) violinists performing early music repertoire, are fundamental in the identification of prevailing norms of practice and changes of style that have occurred over time. However, compared to the considerable amount of research conducted on 20th century playing, studies focusing on 21st century violin performances are still quite limited, and are mostly based on recordings of J. S. Bach’s sonatas and partitas for solo violin. This paper examines contemporary violin recordings made in recent decades (1999–2017). It aims to explore the most current trends in early 21st century violin performance practices and identify the impact of HIP principles on the new generation of players. Unlike most previous research, it focuses on recordings made to 19th century repertoire, thus enlarging the spectrum to include performance analysis of a relatively untouched field and enabling examination of the degree and manner of incorporating 19th century performance attributes (e.g., utilization of rhythmic unevenness, portamento or harmonics) into contemporary praxis. Results suggest an extensive blend of stylistic approaches among currently active violinists, putting into question the relevance of the traditional distinction made between HIP and MS performance styles when it comes to current performance vogue. Incorporating 19th century performance devices while playing 19th century music was traced in varying degrees. Findings are suggested as being part of a general, quasi-postmodern quest for pluralism and elimination of hierarchical classifications, representing an era of ‘over-choice’ environment.

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Section: Introductionmentioning

confidence: 94%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Analysis of Contemporary Violin Recordings of 19th Century Repertoire: Identifying Trends and Impacts

Ornoy

Cohen

2018

Front. Psychol.

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“…Esta ocorrência explica-se porque há uma expectativa que o flautista execute os quatro primeiros compassos em uma única respiração e ao fazê-lo demonstre total controle sobre a respiração, especialmente, em situações de audição, revelando assim um alto grau de competência técnico-interpretativa. No entanto, é intrigante o fato de que Lloyd (apud Lord, 1998) Na literatura (McCutchan, 1994;Buck, 2003;Rodrigues, 2015), Bowen (1996), Leech-Wilkinson (2009, entre outros. Bowen (1996, p.111) afirma que, "como musicologistas tendemos discutir sobre a partitura como se isso fosse uma obra musical.…”

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Análise temporal e comparação de gravações do excerto orquestral para flauta do Prélude à l´après-midi d´un faune de Claude Debussy

Sinico

Gerling

2016

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Resumo: O presente estudo visa analisar alguns aspectos temporais do excerto orquestral para flauta do Prélude à l´après-midi d´un faune de Claude Debussy. Para tal, foram selecionadas dez vídeos de gravações ao vivo de orquestras profissionais europeias no sítio do YouTube. Os quatro primeiros compassos que constituem o solo de flauta foram analisados por meio do Sonic Visualiser e comparados quanto ao andamento, acurácia rítmica e rubato. Como resultados, não encontramos um andamento em comum entre as gravações, porém observamos a utilização pródiga do rubato em contradição à literatura (McCutchan, 1994;Lord, 1998;Buck, 2003;Rodrigues, 2015). Por fim, discutimos também a influência da respiração sob o timing em relação as demais competências técnico-interpretativas como estilo, fraseado e expressividade musical.Abstract: This text aims at analyzing some of the temporal aspects of Claude Debussy´s Prélude à l´après-midi d´un faune orchestral excerpt. To this end, we selected ten vídeo recordings of European orchestras avialable on YouTube. The first four measures of the flute solo were analyzed using the Sonic Visualiser and compared regarding pacing, rhythmic accuracy, and rubato. As a result, there is no standard tempo shared amongst the recordings, we have otherwise detected a liberal use of rubato in contradiction to literature (McCutchan, 1994;Lord, 1998;Buck, 2003;Rodrigues, 2015). Finally, we also discussed the mutual influence of breathing and timing and the relationship between these two aspects in relation to other technical and interpretive skills such as style, phrasing, and musical expressiveness.O Prélude à l´après-midi d´un faune, poema sinfônico de Claude Debussy (1862Debussy ( -1918 foi composto entre 1891 e 1894 sob encomenda da Societé Nacionale de Musique e este titulo refere-se ao poema

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The Historiography of the Twentieth-Century Classical Performer: Life, Work, Artistry

Behan¹

2021

Twentieth-Century Music

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One dominant issue in the writing of music histories is the question of how (or indeed whether) a musician's life and work can be interwoven convincingly. In recent years, music biographers have begun to reassess the historical legacies of many significant musicians with this issue in mind, but their critical reflections have for the most part focused on composers. This article seeks to transfer some of this rethinking – particularly on the life/work question – to the twentieth-century classical performer. Doing so reveals a historiography of the performer which sharply divides life and work in a way that is disciplinarily entrenched between biographical approaches on the one hand and empirical approaches to recordings on the other. After illustrating the nature and development of this division, I conclude by calling for greater scholarly convergence and suggest two directions forward, taking leads from artistic research and popular music studies in doing so.

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Recordings and histories of performance style

Cited by 27 publications

References 0 publications

Analysis of Contemporary Violin Recordings of 19th Century Repertoire: Identifying Trends and Impacts

Analysis of Contemporary Violin Recordings of 19th Century Repertoire: Identifying Trends and Impacts

Análise temporal e comparação de gravações do excerto orquestral para flauta do Prélude à l´après-midi d´un faune de Claude Debussy

The Historiography of the Twentieth-Century Classical Performer: Life, Work, Artistry

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