Handbuch historische Orchesterpraxis

GERMAN TEXT ONLY

Köpp Handbuch historische Orchesterpraxis

This is the first handbook to offer an overview of the art of ensemble playing in the Baroque, Classical and Romantic periods, also incorporating historical "art words" (such as "Mannheim School" or "Viennese Classical") in order to precisely name the musical practice in different repertoires. While historical orchestral practice has so far been described mainly from an external perspective (instrumentation, line-up, orchestral conducting), the focus here is on the question of playing practice: "How does an orchestral musician of the 17th to early 19th century understand the (sparse) instructions of his or her orchestral part and how does he or she execute them?"

A key role is played by performance norms which were not part of the musical text and which in part also elude exact notation. These "lost self-evident facts" of orchestral playing (line organisation, standard articulations, expression, interplay) are systematically described and explained for the first time. This novel focus makes the manual also a basic course in historical performance practice, a solid basis for solo ornamentation and improvisation practice.

Fourteen annotated and cross-referenced case studies from the Baroque, Classical and Romantic periods open up the possibility of accessing the information in the handbook from the individual repertoires as well. This allows the book to be read not only systematically (elements of orchestral practice) and historically (stylistic change within the elements), but also from the perspective of a particular musical style.

The practice-oriented handbook is aimed at all those involved in the interpretation of orchestral works: students and working musicians (with or without performance practice experience), conductors, but also musicologists and editors as well as interested amateurs.

- Basic course in historical performance practice for musicians, scholars and interested amateurs.

- Also deals with traditional performance norms that are not part of the musical text

- With 14 case studies from the 17th to the early 19th century