The Interpretation of Early Music: New Version. By Robert Donington. New York: St. Martin's Press, 1974. 766 pp. Illustrations, appendixes, bibliography, index. Hard cover, $30

Commercial Sound Recordings and Trends in Expressive Music Performance

Percy Grainger and new worlds of concert pianism: a study of repertoire and programming (1901-1926)

Clustering is an essential data mining tool that aims to discover inherent cluster structure in data. As such, the study of clusterability, which evaluates whether data possesses such structure, is an integral part of cluster analysis. Yet, despite their central role in the theory and application of clustering, current notions of clusterability fall short in two crucial aspects that render them impractical; most are computationally infeasible and others fail to classify the structure of real datasets. In this thesis, we propose a novel approach to clusterability evaluation that is both computationally efficient and successfully captures the structure in real data. Our method applies multimodality tests to the (one-dimensional) set of pairwise distances based on the original, potentially high-dimensional data. We present extensive analyses of our approach for both the Dip and Silverman multimodality tests on real data as well as 17,000 simulations, demonstrating the success of our approach as the first practical notion of clusterability.

Florida State University Libraries

By the end of the Romantic Era there coexisted at least three discrete schools of Bach interpretation, each with a different notion concerning the sanctity of Bach's text: one school made frequent, extensive alterations to the Urtext; another blindly adhered to the letter of the score, giving little thought to its intrinsic value; and a third, arising late in the century, interpreted the music in accordance with what was then known of the performance conventions of the Baroque era. These schools could be called "subjective," "objective," and authentic," respectively. The proponents of these schools did agree on one point, which was summed up by Spitta in his monumental Bach study of 1873-1880. Spitta affirmed that the ideal vehicle for Bach's keyboard music was not the harpsichord, clavichord or even the organ. No instrument but one which should combine the volume of tone of the organ with the expressive quality of the clavichord, in due proportion, could be capable of reproducing the image which dwelt in the master's imagination when he composed for the clavier. Every one sees at once that the modem pianoforte is in fact such an instrument (Spitta 1951: Ð, 45). In 1899 Oscar Bie concurred with Spitta that "all that Bach dreamed of, the pianoforte gave" (Bie 1966: 123). He went one step further, to suggest that Bach's keyboard music was revered in the nineteenth century because of the interpretive possibilities afforded by the piano. Only when played on the piano could the genius of Bach's works be fully appreciated. As Bie's editors explain, extrapolating from the author's original text: When the instrument necessary to the full interpretation of Bach's claviermusic, the pianoforte, had arrived within measurable distance of perfection, then did Bach's own Art reach it highest formal expression, then once more did the fashion of things suffer a change, and his work began to take its place as a colossal monument .... Wherever a pianoforte is found, there is [Bach's] temple (Bie 1966: 125) At the end of the century, most musicians, like Bie, were unwilling to cede to the harpsichord the piano's firmly entrenched position as the preferred medium for the performance of Bach's keyboard music. Nikisch, for example, conveyed his opinion to Landowska that the Chromatic Fantasy and Fugue was an aberration on the harpsichord (Landowska 1964: 354) and, well into our own century, Riemann maintained that the Well-Tempered Clavier could only be fully effective when played on the piano.1 Late nineteenth- and early twentieth-century musicologists like Spitta, historians like Bie, conductors like Nikisch and theorists like Riemann, to say nothing of the concert-going public, were in complete agreement on one fundamental issue of Bach Auffuhrungspraxis: the piano not only was appropriate, but was ideal for the performance of Bach's keyboard music. It is not at all surprising that this view prevailed. The notion that the piano was superior in every way to earlier keyboard instruments had gone virtually unchallenged for almost a century. It had been fostered by countless scholars, editors and performers, who were simply in accord with the tenor of their times in equating Bach's "clavier" with the modern piano. Despite that the piano's unequivocal primacy in the nineteenth century stemmed from the Romantic conviction that "newer" is nearly always "better," it would be erroneous to assume that the nineteenth century engendered a single, preeminently pianistic manner of interpreting Bach's music. Even among musicians espousing the revisionist aesthetics of Romanticism, who advocated recasting Bach's music in a pianistic mold, there was little unanimity as to whether the Urtexte should be discreetly revised or completely rewritten. While an interest in stylistic interpretation and in fidelity, not to corrupt printed texts but to autograph and manuscript sources, gradually but substantially eroded a sentimental view of Bach which had caused performers, usually unwittingly, to distort the spirit and substance of his music, and while in some quarters "subjective" interpretation gave way to well intentioned but historically misinformed efforts to interpret Bach "objectively," it cannot be said that in the course of the nineteenth century "objectivity" ever eclipsed "subjectivity" or vice versa, or that "authenticity" posed a serious threat to the co-survival of the subjective/ objective status quo until about a decade ago. …

https://www.erudit.org/fr/revues/cumr/1992-v12-n1-cumr0447/1014213ar.pdf

"Subjectivity, Objectivity and Authenticity in Nineteenth-Century Bach Interpretation"

Eminent pianist and composer Percy Aldridge Grainger (1882–1961) filled his original music and folksong arrangements with detailed, though idiosyncratic instructions to performers The extent to which his own meticulous pedal technique is mirrored in careful directions to pianists is both unusual and revelatory Grainger's scores are examined here from the standpoint of the damper, sostenuto and una corda pedals Numerous musical examples serve two purposes: 1) they give information concerning the complexity of Grainger's pedal technique and 2) they exhibit the array of notational methods the composer employed, at various stages in his career, to enable performers to replicate as nearly as possible his own scrupulous pedalling As well, by examining in detail this one aspect of Grainger's rich artistry, light is shed on the relationship between composer and performer, and notation and interpretation, that Grainger sought to understand and articulate ever more clearly throughout his career

https://www.erudit.org/fr/revues/cumr/2001-v21-n2-cumr0473/1014486ar.pdf

The Piano Music of Percy Grainger: A Pianist's Perspective on Pedalling

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"Subjectivity, Objectivity and Authenticity in Nineteenth-Century Bach Interpretation"

The Piano Music of Percy Grainger: A Pianist's Perspective on Pedalling