| Contents |
Accompanying CD contents: Partita in B minor BWV1002. Bourée ; Sonata in G minor BWV 1001. Prelude / J.S. Bach -- Romanze in C major / Joachim -- Hungarian dance no. 1 in G minor / Brahms ; arr. Joachim (J. Joachim, violin) -- Partita in E major BWV 1006. Prelude / J.S. Bach (H. Heermann, violin) -- Partita in E major BWV 1006. Prelude / J.S. Bach (P. de Sarasate, violin) -- Hungarian dance no. 1 in G minor / Brahms ; arr. Joachim -- Mélodie, op. 42, no. 3 / Tchaikovsky (L. Auer, violin) -- Air on the G-string BWV 1068 / J.S. Bach ; arr. Wilhelm (J. Hubay, violin) -- Berceuse, op. 16 / Fauré (E. Ysaye, violin) -- Sonata in G minor BWV 1001. Prelude ; Air on the G-string BWV1068 / J.S. Bach (A. Rosé, violin) -- Le nozze di Figaro. Non più andrai / Mozart (C. Santley, violin) -- Don Giovanni. Batti, batti / Mozart -- Mignon. Connais-tu le pays? / Thomas -- Ave Maria / J.S. Bach; arr. Gounod -- Le nozze di Figaro. Voi che sapete / Mozart (A. Patti, violin) -- Otello. Credo in un dio crudel / Verdi (G. Kaschmann, violin) -- Falstaff. Quand'ero paggio / Verdi (V. Maurel, violin) -- Ave Maria / J.S. Bach ; arr. Gounod (A. Moreschi, violin) -- Mignon. Connais-tu le pays? / Thomas -- Don Giovanni. Batti, batti / Mozart (M. Sembrich, violin) -- Sonata op. 100. First movement / Brahms -- Sonata op. 13. First movement / Fauré -- Sonata op. 100. First movement / Brahms (D. Milsom, violin ; J. Gooing, piano). |
| Abstract |
With most of western art music, it can be argued that music-making requires performers to interpret a composer's original, notated ideas. Often, an informed and perceptive reading of the score needs to be combined with the inspiration to convey the feelings and emotions intended by the composer. The difficulties inherent in such an undertaking are further heightened when the music was composed several generations ago. This book argues that in order to convey late nineteenth-century musical style appropriately, the performer needs to have a grasp of the philosophical orientation of musical thinking at that time. In effect, one must 'unlearn' the value systems of the present, in order to assimilate those of the late nineteenth century. To arrive at a better understanding of performance in this period, the book examines performing style in the German, and Franco-Belgian schools of violin playing from c.1850-c.1900. The author explores selected instrumental treatises written by noted players and theorists, together with a number of recorded performances given by celebrated artists in the early years of the twentieth century, to review the similarities and differences between theory and practice. |
