Contents

• 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