Rethinking the Art of Baroque Music Performance
It’s time to expand our interpretation of what constitutes ‘early’ music
When cellist Stephanie Vial, co-director of the Vivaldi Project and the Modern Early Music Institute (MEMI), and I dug deeper into our research at Cornell University, we discovered both from studying the treatises of 18th-century performance practices and playing the period instruments that there was an incredible range of expressions that were new to us and that were expected of Baroque performers. It became apparent that this palette of expression, replete with extreme ranges of emotion, had been smoothed out over the last two centuries of performance traditions.
This article, "Rethinking the Art of Baroque Music Performance," is part of the Strings Archive, which you can access with a paid site subscription.
If you have a paid subscription, you are seeing this message because you have not logged in.
What do you want to do?
Log in using my current paid subscription account.
Subscribe now and get our best offer.
-
1
-
ARE FULLY MODERATED
You must be logged in to rate and comment. Log in or Subscribe now.