"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 1993 and 1994 featured Anonymous 4, who sing medieval music, and the best-selling Beethoven recording of 1995 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? Now, in Inside Early Music, Bernard D. 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. Readers listen in on conversations with conductors Gardiner, William Christie, and Roger Norrington, Peter Phillips of the Tallis Scholars, vocalists Susan Hellauer of Anonymous 4, forte pianist Robert Levin, cellist Anner Bylsma, and many other leading artists. 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. 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."
By:
Bernard D. Sherman
Imprint: Oxford University Press Inc
Country of Publication: United States
Edition: New edition
Dimensions:
Height: 151mm,
Width: 239mm,
Spine: 29mm
Weight: 653g
ISBN: 9780195169454
ISBN 10: 019516945X
Pages: 432
Publication Date: 01 November 2003
Audience:
Professional and scholarly
,
Undergraduate
Format: Paperback
Publisher's Status: Active
"Preface and Acknowledgments Introduction: An Atmosphere of Controversy PART ONE: The Middle Ages, Plainchant, and ""Otherness"" 1.: A Different Sense of Time-Marcel Pérès 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"
"Bernard D. Sherman writes about early music and other topics for Fanfare, Historical Performance, Early Music America, Strings, and Piano and Keyboard, among other journals and magazines. He wrote the article on ""Authenticity in Musical Performance"" for the Encyclopedia of Aesthetics (OUP, 1998)."
Reviews for Inside Early Music: Conversations with Performers
<br> Sherman is an excellent writer and a modest intuitive interviewer. A truly delightful book. --Early Music America<p><br> Excellent...The teeming practical detail of this book is a great achievement in itself, but equally significant is its documentation of the major conceptual issues behind the historical-performance movement --Anthony Pryer, The Times Literary Supplement<p><br> Inside Early Music is an outstanding achievement. Bernard Sherman has managed to give a broad overview of current trends in historical performance while at the same time focusing on enough of the interesting details and current hot topics to give the book an unexpected depth. He achieves this through his thoughtful selection of interviewees, each discussing his or her own area of specialization, and also through his probing questions. --Continuo<p><br> A book of unparalleled interest. It bristles with sharply defined positions and passionate arguments, all of them expressed with clarity and augmented by the author's insightful and well-informed reflections. --Timothy J. McGee, Library Journal<p><br> I can't imagine a better book of its kind. --Richard Taruskin, author of Text and Act and Stravinsky and the Russian Traditions<p><br> Inside Early Music is a fascinating book, and not just for readers with an interest in early music. Sherman's pointed interviews with opinionated people, and his lucid introduction and postscripts, offer considerable insight into questions about the nature of art, the nature of human nature, and some of the great intellectual controversies of our time. --Steven Pinker, author of The Language Instinct and How the Mind Works<p><br>
