Selection of recordings from the CHARM Royal Holloway website

Guidelines for Historically Informed Performance Practice

Baroque music is about Singing, Speaking and Dancing at (about) the same time (think Singing in the Rain)

Musical gesture is informed by the traditions of rhetorical design and delivery

Metric hierarchy bears upon most interpretive decisions: where in a bar does an event take place?

Musicianship that thrives on the improvisational impulse is privileged over reproductive musicianship

The tension in music between Structure and Ornamentation is constant, but varying

Dynamics are usually local behaviors; at deeper levels of detail, there is constant change in all parameters

Deciphering signs in a text often requires exegesis

Harmonic reduction is an efficient path to understanding tonal music, because tonality is hierarchical

Tuning and Intonation are part of the dialect

A performance is an analysis, an analysis is a performance

Silence is part of performance

To Tug the Heartstrings, Music Must First Tickle the Brain. NYT article

Daniel Leech-Wilkinson: Listening and Responding to the Evidence of Early 20th C Performance

Modernism, Rhetoric and (De-) Personalization in the Early Music Movement Article by Uri Golomb

The Spin Doctors of Early Music. NYT article by R Taruskin

E Grieg: Solveig's Song. Comparison of four early performances (1889-1904)

C Balbastre Romance for barrel organ

Anna Netrebko - Grieg Solveig's Song

Marita Solberg Solveig's song Edvard Grieg Peer Gynt

D Shostakovitch plays (1958) the middle movement of his own Piano Concerto No. 2


Piano Concerto No. 2 in F major, Op. 102 Orchestre National De La Radiodiffusion Française André Cluytens, conductor Dmitry Shostakovich, piano

A Measured Approach. Article on Performance Practice of Bach by Claudio Di Veroli

Carl Reinecke plays W. A. Mozart: Sonata K.332 Movts. 1 & 2 (Hupfeld piano roll) 2nd movement starts at ca. 6:10

 Reinecke: W A Mozart Rondo alla turca (Hupfeld piano roll, 1907)

Carl Reinecke (1824-1910) performs W A Mozart Larghetto KV 537 (Welte piano roll 1905)

James Young: The Concept of Authentic Performance (article, British Journal of Aesthetics, 1988)

James Young: The Concept of Authentic Performance

Dorottya Fabian: Authenticity and the Early Music movement (Journal article IRASM 2001)

Dorottya Fabian: Authenticity and the Early Music movement

Susan McClary on Temporality in 17th-Century French Harpsichord Music (book chapter 2012)

Susan McClary on Temporality in 17th-Century French Harpsichord Music

Temporality in 17th-C French Harpsichord Music: Comparison of works by L.Couperin, J. C. de Chambonnières + J. H. D'Anglebert performed live by Robert Hill

Prof. Susan McClary: Interpreting Music as a Performer (8-minute video discussion of performance philosophy)

Susan McClary on Temporality in 17th-C French harpsichord music