Enrique Granados’s Duo-Art piano-roll performance of his Danza española no. 5 (Andaluza), made some 20 years after the piece was published, illuminates much about late-Romantic piano performance practices.
Transcription and analysis of this piano roll illustrate the disparity between score and performance. Granados added and changed notes, ornaments, articulations, and chords. He also altered many rhythmic values, desynchronized melody and accompaniment, rolled chords at will, and introduced drastic tempo changes not indicated in the score. His performing style thus reflects a personal approach to the piano that lies well within the broader context of the Romantic performance tradition.
This according to “Piano-roll recordings of Enrique Granados: A study of a transcription of the composer’s performance” by Anatole Leikin (Journal of musicological research XXI/1–2 [January–June 2002] pp. 3–19).
Today is Granados’s 150th birthday! Below, the recording in question.
Critics, scholars, and performers have long noted that Arturo Toscanini’s reputation for absolute fidelity to the printed score was little more than a public relations myth.
Now that the legendary conductor’s annotated scores are available for study, three types of alterations can be observed: (1) modifications of dynamics, articulation, bowing, phrasing, and tempo; (2) orchestrational adjustments; and (3) the introduction of new material.
The combination of Toscanini’s Italian musical heritage and Wagnerian aesthetic convinced him that the highest service that a conductor could render was to impose certain types of musical changes whenever he sensed that a composer’s artistic conception was threatened. In his mind, there was neither egotism nor hypocrisy in this approach.
This according to “Toscanini and the myth of textual fidelity” by Linda B. Fairtile (Journal of the Conductors Guild XXVI/1–2  49–60).
Today is Toscanini’s 150th birthday! Below, his recording of the first movement of Beethoven’s ninth symphony, one of the works discussed in the article.
Performing premodernity online, an open-access journal launched in January 2015, publishes papers given at Performing Premodernity conferences as well as reports from workshops and other events.
Performing Premodernity is a research project based at the Department of Culture and Aesthetics at Stockholm University. It is one of eight premodernity projects funded by Riksbankens Jubileumsfond (The Swedish Foundation for Humanities and Social Sciences). Concentrating on both academic and artistic research, the project aims to contribute to the revitalizing of historically informed performance today.
The journal’s first volume includes papers from a conference that was held in København in February 2014 on Francesco Cavalli’s opera Gli amori d’Apollo e di Dafne. Below, Soledad Cardoso performs an aria from the work.
Although writing allowed medieval composers to work out pieces in their minds, it did not make memorization redundant—rather, it allowed for new ways to commit music to memory. But since some of the polyphonic music from the 12th century and later was written down, scholars have long assumed that it was all composed and transmitted in written form.
Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the twentieth century, who approached medieval music as if it were no different from music of the nineteenth century. The fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. A new model emphasizes the interplay of literate and oral composition and transmission.
This according to “Medieval music and the art of memory” by Anna Maria Busse Berger (Berkeley: University of California Press, 2005).
Above, Pérotin, who is widely considered to be the first to compose at his desk rather than in the church; below, his Viderunt omnes.
Free improvisation, which arose among jazz musicians but now encompasses a broad range of musical interactions, is best understood as a forum for exploring interactive strategies.
The practice emphasizes process, an engendered sense of discovery, dialogical interaction, the sensual aspects of performance, and a participatory aesthetic; its inherent transience and immediacy challenge dominant modes of consumption and sociopolitical and spiritual models of the efficacy of art.
This according to “Negotiating freedom: Values and practices in contemporary improvised music” by David Borgo (Black music research journal XXII/ [fall 2002] pp. 165–188).
Above and below, Ornette Coleman’s group in the early 1960s.
In 2013 Bärenreiter issued a new Urtext edition of Monteverdi’s Vespro della Beata Vergine, one of the most beloved sacred works of the 17th century.
The volume originated in a graduate seminar at the University of North Texas under the direction of the Monteverdi specialist Hendrik Schulze, who served as the book’s editor.
The edition combines the latest in musicological research specifically with the needs of the performer in mind, making a modern interpretation of this 400-year-old work possible. This new research has led, for instance, to a divergent evaluation of the Lauda Jerusalem oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.
Below, John Eliot Gardiner leads a full performance of the work. Go ahead, you deserve it.
The 1981 premiere of Peter Brook’s and Jean-Claude Carrière’s La tragédie de Carmen at the Opéra in Paris sparked considerable controversy over its focus on the bleaker, darker aspects of the story.
In their revision of Bizet’s Carmen, Brook and Carrière attempted to be truer to Prosper Mérimée’s 1845 novella, emphasizing the basic components of its tragedy: sorcery, sexuality, obsessive love, and death. They removed the comic elements from Bizet’s work, reasoning that the composer had been constrained by a theatrical medium that demanded the inclusion of comedy.
This according to The tragedy of Carmen: Georges Bizet and Peter Brook by William Manning D. Mouat, a dissertation accpted by the University of Washington, Seattle, in 1996.
Above and below, Zehava Gal in the title role.
In a 1993 interview, Marilyn Horne discussed her study of the few examples of Rossini’s written-out vocal ornaments.
“I knew that if I ornamented that much I would be highly criticized for it. And so I did just a little bit—and was highly criticized for that!”
“Oh yes, we couldn’t win. In the beginning, I fought those ‘ornament fights’. I had terrible battles about it, especially with Italian conductors, because they are still very much under the influence of Toscanini, who ‘cleaned up’ everything.”
“I remember one particular conductor, his name was Argeo Quadri, and he talked like this: ‘Ah, signora, non si puo cantarlo così.’ Finally I said to him ‘Maestro, I went to a medium last night’—his eyes got bigger and bigger—and I said ‘I talked to Rossini stesso, and he said “Vai, Marilyna, vai!”’ Quadri laughed. He didn’t know whether to take me seriously or not, but he said okay, you can do your ornaments.”
This according to “La Rossiniana: A conversation with Marilyn Horne” by Jeannie Williams (The opera quarterly IX/4 [summer 1993] pp. 64–91).
Today is Marilyn Horne’s 80th birthday! Below, the diva demonstrates.
In December 2011 the Laboratory of Greek Music at the Ionian University, Kerkyra (Corfu), launched the book series Ellinīkī Mousikologikī Vivliothīkī (Ελληνική Μουσικολογική Βιβλιοθήκη/Library of Greek Musicology) with a volume curated by Charīs Xanthoudakīs and Arīs Garoufalīs on the relationship between the great Greek conductor and composer Dīmītrīs Mītropoulos and the Athens conservatory Odeio Athinōn.
Mītropoulos studied at the Odeio Athinōn from 1910 to 1919. Returning from a period of study in Berlin in 1925, he served as conductor first of the orchestra of the other Athens conservatory, Ellīniko Odeio, then from 1927 to 1937 for his alma mater, where he also taught composition. He also created a combined orchestra from the two schools in a Syllogo Synafliōn (Club Concert) that achieved considerable glory in its brief existence, featuring guest appearances by Richard Strauss and Alfred Cortot and a 1933 performance of the “constructivist” Zavod (Iron Foundry) by Aleksandr Mosolov.
The book, O Dīmītrīs Mītropoulos kai to Odeio Athinōn: To chroniko kai ta tekmīria (Dīmītrīs Mītropoulos and the Odeio Athinōn: Chronicle and archival materials, ISBN 978-960-86801-8-0), consists of two parts: a biography of Mītropoulos, and a collection of 85 reproduced documents from the Odeio’s archives illustrating the narrative of the first part, including meeting minutes, personal correspondence, and texts of speeches, together with excerpts from the most recent scholarly studies of Mītropoulos’s life and works before his emigration to the United States and international fame.
Below, Mītropoulos rehearses and performs Liszt’s Faust symphony with the New York Philharmonic.
Related article: Dimitri Mitropoulos (1896–1960)