Classical and Romantic Performing Practice 1750-1900
With a foreword by Sir Roger Norrington
Reviews and Awards
A Choice Outstanding Academic Title for 2000
this useful and important new book. - Peter Williams, Musical Times Dec.2000.
The topics seem endless, and the author deserves our gratitude for gathering them together, and for devoting all the energy required for such a book. - Peter Williams, Musical Times Dec. 2000.
the fact that the book focuses on notation will make it permanently useful, something to consult. - Peter Williams, Musical Times Dec. 2000.
a work of the greatest scholarship and utility ... the sheer erudition is noteworthy. J. Murray, Choice, Vol.38, No.1. -
it may be consulted profitably by any musician or aspirant who performs the Classic or Romantic repertoire. J. Murray, Choice, Vol.38, No.1. -
This book will revolutionise the study of music. - David Owen Norris, BBC Music Magazine, Oct 2000.
His wicked eye for a quotation reveals at every turn that he himself is a performer. - David Owen Norris, BBC Music Magazine, Oct 2000.
Sparks of knowledge fly up in all directions. - David Owen Norris, BBC Music Magazine, Oct 2000.
Audiences are in for some good times. - David Owen Norris, BBC Music Magazine, Oct 2000.
Despite its wealth of music examples (many in facsimile), Brown's book presents solid reading matter ... There is a wealth of information here ... Brown ... sensibly balances the views of theorists and teachers ... with what can be deduced from actual scores ... his book offers a wealth of advice and ideas, ideas which should be thought of as creative and enabling, not restrictive. Period style is not, as it is still so often parodied, a kill-joy matter of not doing something, but of finding different ways of bringing music to life. - Early Music Review, 58, March 2000
The infinitely complex and fascinating relationship between notation and performance... assumes centre stage... Brown draws on an astonishing range of sources in his discussions of accentuation, articulation and phrasing (including string bowing), tempo and its modification, ornaments, vibrato, portamento and a host of other areas... a vast range of information for the performer's consideration while, at the same time, calling for a certain tenacity from the reader... Brown's grasp of primary sources is wide-ranging and scholarly, lavishly illustrated with musical examples, often of unfamiliar repertory. He uncovers many questions and possible answers, which can hardly fail to stimulate the thinking performer... I for one shall be underpinning future practical endeavours with constant reference to Brown's pioneering volume, a substantial achievement which will inevitably repay close and repeated study. - Colin Lawson, Gramophone Early Music Spring 2000.