Of signs and sounds: musical interpretation and performance from the 19th to the 21st century
Partenaire
Livre collectif en anglais et français dirigé par Rémy Campos et Arthur Macé. Brepols, 2025., avec la soutien du Palazzetto Bru Zane.
Over the last few decades, scholarly literature dedicated to historically informed performance has proliferated. Numerous publications, the creation of specialised collections and dedicated research teams have all contributed to the development of an ever-expanding scientific library. This vast repository of knowledge comprises not just written publications, but also countless recordings and performances, as well flourishing. Paradoxically, as new research methods developed, the terra incognita simultaneously seemed to expand. This volume does not attempt an exhaustive synthesis but instead aims to outline a number of significant trends within the field of historically informed performance studies, as practised in conservatoires and universities. The fifteen texts gathered in this volume can be read both as contributions to specific areas of performance studies as well as methodological proposals inviting cross-disciplinary reflection. The first part of the book, which examines among other topics music engraving, the theory and hermeneutics of the sign, and performers' annotations, puts forward new proposals for the analysis of the musical sign. The second part deals with the growing field of recordings analysis and reenactment, looking at leading artists (e. g. Georges Enesco, Vlado Perlemuter, Sarah Bernhardt or Charles Ives).
Contents
Foreword – Rémy Campos & Arthur Macé
Historically Informed Performance: An Unsolvable Problem? – Rémy Campos
Renewed Analysis of Signs
Composers, Engravers and Piano Music Texts in the Long Nineteenth Century – David Rowland
Annotations in Performance Material of 19th-Century German Orchestras– Nir Cohen-Shalit
L’expression pianistique au défi de la notation: écrire et enseigner l’expression dans le long XIXe siècle– Inès Taillandier-Guittard
Au bout des doigts: les partitions annotées d’Yvonne Loriod à la Bibliothèque nationale de France – Du Chao
Décrire et exemplifier les principes d’exécution: vers une théorie du signe musical de l’Empire à la monarchie de Juillet? – Hector Cornilleau
Reenacting Sounds and Gestures
Reconstructing a Living Tradition: The Early Recordings of Donizetti’s Lucia di Lammermoor – Massimo Zicari
In Search of Cortot’s Beethoven – Manuel Bärtsch
Georges Enesco interprète du Poème d’Ernest Chausson – Julien Szulman
The Piano Recordings of Charles Ives: Understanding Instrumental Practice as an Extension of Work Creation– John Kamfonas
Directionality & Intentionality: Perspectives on Phrasing in String Playing in the 19th & 20th Centuries – Guillaume Tardif
Re-Enacting Wagner in the 21st Century – Martin Knust
Cinq fois Phèdre: protocoles de réactivations de performances passées à partir d’une partition vocale – Anne Pellois & Tomas Gonzalez
Apprendre par la copie: une voie d’accès au style ravélien – Pierre Goy
Historically Informed Recording: Early Recordings Association’s Violin Case-Study– Inja Stanović
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date de publication : 31/12/25