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Classical and Romantic Music

Classical and Romantic Music

  • Author: Milsom, David



Usually despatched in 5 - 7 working days


  • Contents: Introduction
  • Part I Style and Purpose: Appraising 18th and 19th Century Aesthetics: Performing Classical repertoire: the unbridgeable gulf between contemporary practice and historical reality, Clive Brown
  • Mozart as early music: a Romantic antidote, Laurence Dreyfus
  • Listening and responding to the evidence of early 20th-century performance, Daniel Leech-Wilkinson. Part II Studies in Historical Sources: Mathis Lussy's Traite de l'expressione musicale as a window into performance practice, Michael D. Green
  • Quantz's unegal: implications for the performance of 18th-century music, Claire A. Fontijn
  • The recordings of Joachim, YsaAe and Sarasate in light of their reception by 19th-century British critics, Dorottya Fabian. Part III Instruments, Ensembles and Conducting: Towards a Verdian ideal of singing: emancipation from modern orthodoxy, Roger Frei
  • Brahms's pianos and the performance of his late piano works, Camilla Cai
  • The orchestra in Beethoven's Vienna, Clive Brown
  • Mozart's Viennese orchestras, Dexter Edge
  • Rejected traditions: ensemble placement in 19th-century Paris, Donna M. Di Grazia
  • Style and sonority in Wagner string performance, David Milsom
  • The origins of the ideology of authenticity in interpretation: Mendelssohn, Berlioz and Wagner as conductors, Jose Antonio Bowen. Part IV Tempo and Rhythm: Historical performance, metronome marks and tempo in Beethoven's symphonies, Clive Brown
  • The case of compensating rubato, Sarah Martin
  • Tempo as an expressive element in the late Romantic lied, Edward F. Kravitt
  • New light on late 18th-century tempo: William Crotch's pendulum markings, Emanuel Rubin. Part V Aspects of Notation: Dots and strokes in late 18th- and 19th-century music, Clive Brown
  • The expressive pause: punctuation, rests and breathing in England 1770-1850, Robert Toft
  • Beggar at the door: the rise and fall of portamento in singing, John Potter
  • Bowing styles, vibrato and portamento in 19th-century violin playing, Clive Brown
  • Port