Creating Haydn’s Sonatas at the Keyboard – Performer Rights and Responsibilities in Historical Performance
Keywords:
Haydn, fortepiano, performance practiceAbstract
In April 2014, fortepianist and Mozart specialist John Irving recorded a CD of solo keyboard sonatas by Joseph Haydn, using a modern copy of a Viennese fortepiano of Haydn’s era. This is an account of the project written from the performer’s perspective, examining some relevant issues of historical performance practice, organology, and detailed reflections upon the performer’s preparations (of various musical and technical kinds) for the recording.
References
Braunbehrens, V. (1991) Mozart in Vienna, transl. by T. Bell (Oxford: Oxford University Press.
Clark, A. (1997) Being There: Putting Brain, Body and World Together Again, Cambridge MA: The MIT Press.
Clementi, M. (1801) Introduction to the Art of Playing the on the Pianoforte, London: Shaun.
Gallagher, S. (2005) How the Body Shapes the Mind, Oxford: Oxford University Press.
Geminiani, F. (1751) The Art of Playing on the Violin, London.
Goehr, L. (1992) The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Oxford University Press.
Irving, J. (1997) Mozart’s Piano Sonatas: Contexts, Sources, Style, Cambridge: Cambridge University Press.
Knocker, E. (transl.) (1948) A Treatise on the Fundamental Principles of Violin Playing – Leopold Mozart London: Oxford University Press.
Lakoff, G. and Johnson, M. (1999) Philosophy In The Flesh: the Embodied Mind and its Challenge to Western Thought, New York: Basic Books.
Latcham, M. (1998) “The Pianos of Johann Andreas Stein”, The Galpin Society Journal 51:114–153.
Nelson, R. (2013) Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances, Palgrave Macmillan: Basingstoke.
Recordings
Haydn Complete Music for Solo Keyboard Ronald Brautigam (fortepiano) BIS-CD-1731/33 The Virtual Haydn: Complete Works for Solo Keyboard Tom Beghin (keyboards) NAXOS 8.501203
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