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A Musicology of Performance Theory and Method Based on Bach's Solos for Violin Dorottya Fabian Publisher: Open Book Publishers Year of publication: 2015 Published on OpenEdition Books: 1 June 2017 Serie: OBP collection Electronic ISBN: 9782821881723 http://books.openedition.org Printed version ISBN: 9781783741526 Number of pages: xxii + 342 Electronic reference FABIAN, Dorottya. A Musicology of Performance: Theory and Method Based on Bach's Solos for Violin. New edition [online]. Cambridge: Open Book Publishers, 2015 (generated 05 mai 2019). Available on the Internet: <http://books.openedition.org/obp/1852>. ISBN: 9782821881723. © Open Book Publishers, 2015 Creative Commons - Attribution 4.0 International - CC BY 4.0 A MUSICOLOGY OF PERFORMANCE A Musicology of Performance Theory and Method Based on Bach’s Solos for Violin Dorotya Fabian http://www.openbookpublishers.com © Dorottya Fabian Version 1.1. Minor edits made, October 2015. Version 1.2. Minor edits made, June 2016 This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Dorottya Fabian, A Musicology of Performance Theory and Method Based on Bachs Solos for Violin. Cambridge, UK: Open Book Publishers, 2015. http://dx.doi.org/ 10.11647/OBP.0064 Please see the list of images and audio examples for attribution relating to individual resources. Whenever a license is not specified, these resources have been released under the same license as the book. Every effort has been made to identify and contact copyright holders and any omission or error will be corrected upon notification to the publisher. In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/isbn/9781783741526#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active on 31/06/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web The Australian Academy of the Humanities has generously contributed to the publication of this volume. Digital material and resources associated with this volume are available at https://www. openbookpublishers.com/isbn/9781783741526#resources ISBN Paperback: 978-1-78374-152-6 ISBN Hardback: 978-1-78374-153-3 ISBN Digital (PDF): 978-1-78374-154-0 ISBN Digital ebook (epub): 978-1-78374-155-7 ISBN Digital ebook (mobi): 978-1-78374-156-4 DOI: 10.11647/OBP.0064 Cover image: Juan Gris, ‘Violin’ (1913), http://commons.wikimedia.org/wiki/File:Juan_Gris_-_ Violin.jpg All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative) and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. Printed in the United Kingdom and United States by Lightning Source for Open Book Publishers In memory of my father, Otto Somorjay. Your appreciation of performing musicians and your love of listening to music have been life-long inspirations. Thank you! Contents Acknowledgments i 1. Dancing to Architecture? 1 1.1 The Problems of Researching and Writing about Music 3 Performance Problems with Historical Investigations of Music Performance 7 Is HIP a Modern Invention/Aesthetic or Does it Have Historical 12 Grounding? Data versus Narrative–Letting Go of Dancing or Returning to the 13 Dance Floor? 1.2 Summary: Recordings, Aims and Method 17 2. Theoretical Matters 25 2.1 Cultural Theories 28 HIP and Modernism 28 Modernism versus Postmodernism 31 HIP as a Mirror of Cultural Change 35 Aesthetics and Value Judgment: Beauty and the Sublime 39 2.2 Analytical Theories 42 Music Performance Studies 42 Empirical and Psychological Studies of Performance 48 2.3 Music Performance and Complex Systems 51 Gilles Deleuze and Difference in Music Performance 52 Music Performance as Complex Dynamical System 56 2.4 Performance Studies, Oral Culture and Academia 61 Research Roles: Performing Music or Analysing Performance? 62 Oral Cultures and the Aurality of Music Performance 65 Keeping Music Performance in the Aural Domain 69 Academia Once More 71 2.5 Conclusion 73 3. Violinists, Violin Schools and Emerging Trends 75 3.1 Violinists 76 3.2 Violin Schools 87 3.3 The Influence of HIP on MSP 95 3.4 Diversity within Trends and Global Styles 106 3.5 Overall Findings and Individual Cases 116 Trends in Particular Movements 118 The Importance of Ornamentation 120 3.6 Conclusion 122 4. Analyses of Performance Features 127 4.1 Tempo Choices 130 4.2 Vibrato 137 4.3 Ornamentation 146 Problems of Aesthetics and Notation Practices 146 The Role of Delivery 149 The Performance of Embellishments 153 Diversity—Once More 166 Ornamenting or Improvising? 169 Summary 170 4.4 Rhythm 172 Dotted Rhythms 173 Rhythmic Alteration 181 Rhythm and Musical Character 183 4.5 Bowing, Articulation and Phrasing 184 Bowing and Timbre 184 Multiple Stops 190 Phrasing and Dynamics 193 4.6 Conclusions 197 5. Affect and Individual Difference: Towards a Holistic Account 201 of Performance 5.1 Differences within the MSP and within the HIP Styles 202 The Loure 202 MSP Interpretations 203 HIP Interpretations 206 The Gavotte en Rondeau 207 HIP: Wallfisch and Huggett 208 MSP: Lev and Girngolts 210 Menuet I-II 211 5.2 Multiple Recordings of Violinists 217 Gidon Kremer 218 Rachel Barton Pine 221 Christian Tetzlaff 223 Sigiswald Kuijken 229 Viktoria Mullova 230 5.3 The Holistic Analysis of Interpretations 233 “Subjective” Aural Analysis: The D minor Giga 234 “Objective” Measures: 238 The A minor Grave and G minor Adagio Perception of Affect 241 5.4 Idiosyncratic Versions and Listeners’ Reactions 247 Thomas Zehetmair 247 Monica Huggett 251 The E Major Preludio 254 5.5 Conclusions 268 6. Conclusions and an Epilogue: The Complexity Model of Music 273 Performance, Deleuze and Brain Laterality 6.1 Summary 286 6.2 Where to from Here?—Epilogue 287 The Brain and its Two Worlds 288 List of Audio Examples 297 List of Tables 303 List of Figures 305 Discography 307 References 313 Index 333 Acknowledgments The publication of the book was assisted by subventions from the Australian Academy of Humanities and the School of the Arts and Media of UNSW Australia. This project has also been supported by an Australian Research Council Discovery Grant (DP0879616) and a UNSW Australia Faculty of Arts and Social Sciences Special Studies program in 2010, during which I took up a visiting fellowship at Clare Hall, Cambridge University which proved an ideal environment for focused work. In 2014 I received some tutoring and marking relief from the School of the Arts and Media at UNSW that contributed significantly to my ability to bring this project to a close. I would like to thank my research assistants Bridget Kruithof, Elizabeth Cooney, Hae-Na Lee and Amanda Harris for help with data collection and some measurements; Daniel Bangert, Jennifer Butler, Daniel Leech- Wilkinson, Eitan Ornoy, Sean Pryor, Dario Sarlo, and Emery Schubert for insightful and corrective comments on earlier drafts; Kumaran Arul for encouragement and Ellen Hooper for stimulating discussions about performance research and Deleuze; two anonymous reviewers for their valuable comments and suggestions; Rachel Barton-Pine for her generosity in providing me with recordings of her concerts; and Alessandra Tosi and Bianca Gualandi of the superb editorial team at Open Book Publishers who helped make the multi-media presentation possible. I thank Corin Throsby for preparing the index. Although I prepared a rough draft in 2011, due to other work commitments I could not return to it until 2014, so this book has had a long gestation and underwent substantial rethinking and re-writing. Sections, mostly on ornamentation and the interaction between period and mainstream playing styles have been presented at various academic ii A Musicology of Performance gatherings. I wish to note my gratitude to Jane Davidson (University of Western Australia, Perth), Gary McPherson (Music, Mind and Wellbeing, University of Melbourne, Australia), Clive Brown and David Milsom (Leeds University), Ingrid Pearson (Royal College of Music, London), Jane Ginsborg (Royal Northern College of Music Manchester) for the invitations. Thanks are also due to the organizers of conferences in Aveiro (Portugal) and at the Orfeus Institute (Ghent), for the opportunity to present, and to the audiences for valuable questions and comments. An article on ornamentation in recent recordings of J. S. Bach’s Solos for Violin was published in Min-ad, the Israeli Musicological Society’s peer-reviewed journal. I thank them for kindly allowing me to re-use some of that material in chapter four of this book. I would also like to record the generosity of John Butt, Janice Stockigt, Samantha Owens, and Neal Peres da Costa who wrote supporting letters to the Australian Academy of Humanities when I applied to them for a publications subvention. Thank you! I am grateful to Katalin Komlós for noting some additional misprints and notation errors in one of the score examples and thank Open Book Publishers, especially Bianca Gualandi, for their prompt action in correcting them for edition 1.2 (June 2016). 1. Dancing to Architecture? Framing all the great music out there only drags down its immediacy. […] Writing about music is like dancing about architecture—it’s a really stupid thing to want to do. Elvis Costello (b. 1954), singer-songwriter1 Starting this book with such a quote is not just a flippant rhetorical device. It flags my very strongly felt unease regarding the subject matter of the undertaking and my research in general.
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