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  3. Cambridge Handbooks to the Historical Performance of Music

During the last three decades historical performance has become part of mainstream musical life. However, there is as yet no one source from which performers and students can find an overview of the significant issues or glean practical information pertinent to a particular instrument. This series of handbooks guides the modern performer towards the investigation and interpretation of evidence found both in early performance treatises and in the mainstream repertory.

  • General Editors: Colin Lawson, Royal College of Music, Robin Stowell, University of Wales, College of Cardiff

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4 results in Cambridge Handbooks to the Historical Performance of Music

Early Keyboard Instruments
  • A Practical Guide
  • David Rowland
  • Published online:
    22 September 2009
    Print publication:
    26 March 2001
  • Early Keyboard Instruments covers a wide range of performance issues on keyboard instruments relevant to the music from c.1700–c.1900. It includes descriptions of the harpsichords, clavichords, pianos and other stringed-keyboard instruments used by performers of the period as well as aspects of technique such as harpsichord registration, piano pedalling and keyboard fingering. Aspects of the notation of keyboard music are discussed, as is articulation, embellishment, tempo flexibility and rubato. A substantial chapter is devoted to case studies, illustrating how the aspects of performance discussed in the rest of the book are worked out in practice, whether playing on period instruments or on the modern piano.

The Early Violin and Viola
  • A Practical Guide
  • Robin Stowell
  • Published online:
    22 September 2009
    Print publication:
    26 July 2001
  • This practical guide is intended for all violinists and viola players who wish to give - or to understand and appreciate - historically aware performances of early music for their instruments. It comprises discussion of the literature, history and repertory of the violin and viola, the myriad relevant primary sources and their interpretation, and the various aspects of style and technique that combine to make up well-grounded, period performances. It also considers various related family instruments, contains practical advice on the acquisition of appropriate instruments, and offers suggestions for further reading and investigation. Many of the principles outlined are put into practice in case studies of six works composed c.1700–c.1900, the core period which forms this series' principal (though not exclusive) focus. Music by Corelli, Bach, Haydn, Beethoven, Mendelssohn and Brahms is examined with a view to recreating performances as faithful as possible to the composer's original intention.

The Early Clarinet
  • A Practical Guide
  • Colin Lawson
  • Published online:
    22 September 2009
    Print publication:
    28 March 2000
  • This practical guide is intended for all clarinettists with a desire to investigate music of earlier periods. It contains practical help on both the aquisition and playing of historical clarinets, while players of modern instruments will find much advice on style, approach and techniques which combine to make up a well-grounded, period interpretation. The book presents and interprets evidence from primary sources and offers suggestions for further reading and investigation. Most importantly, a series of case studies which include the music of Handel, Mozart and Brahms helps recreate performances which will be as close as possible to the composer's original intention. As the early clarinet becomes increasingly popular worldwide, this guide, written by one of the foremost interpreters of early clarinet music, will ensure that players at all levels - professional, students or amateurs - are fully aware of historical considerations in their performance.

The Historical Performance of Music
  • An Introduction
  • Colin Lawson, Robin Stowell
  • Published online:
    22 September 2009
    Print publication:
    11 November 1999
  • Offering students and performers a concise overview of historical performance, this 1999 book takes into account the many significant developments in the discipline. It addresses practical matters rather than philosophical issues and guides readers towards further investigation and interpretation of the evidence provided, not only in the various early instrumental and vocal treatises, but also in examples from the mainstream repertory. Designed as a parent volume for the series Cambridge Handbooks to the Historical Performance of Music, this book provides an historical basis for artistic decision-making which has as its goal the re-creation of performances as close as possible to the composer's original conception. It relates many of the issues discussed to major works by Bach, Mozart, Berlioz and Brahms, composed c.1700–c.1900, the core period which forms the principal (though not exclusive) focus for the whole series.