Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900–1950

by Robert Philip

Until recently, early recordings were regarded as little more than old-fashioned curiosities by musicians. Scholars and musicians now are beginning to realise their importance as historical documents which preserve the performance of composers and the musicians with whom they worked. In this fascinating study, Robert Philip argues that recordings of the early twentieth-century provide an important and hitherto neglected resource in the history of musical performance. The book concentrates on aspects of performance which underwent the greatest change in the early twentieth century, including rhythm, rubato, vibrato, and portamento. The final chapters explore some of the implications of these changes, both for the study of earlier periods and for the understanding of our own attitudes to the music of the past.

Genres: Music

288 pages, Paperback

First published October 30, 1992

Reviews

[Bob Kosovsky · Rating 3 out of 5]

Important subject resulting in a useful but flawed book. Suprisingly lacking in any substantive analytical passages, so that discussing e.g. vibrato, portamento, etc. without dealing with the internals of the music is like reading a high school paper. Talented writer but not much insight beyond a catalog of examples.

[Susan · Rating 5 out of 5]

A satisfyingly detailed and thorough examination of performance practice in the early 1900s based on early recordings. A close look at the evolution of musical style during that time period, with comparisons between conductors and soloists from the 20s to the 70s. Specifically, the author concentrates on comparisons of rhythm (including flexibility of tempo, rubato, agogic accents, etc.), vibrato, and portamento. Graphics and tables were fascinating. Extremely thorough footnotes.

Useful in aiding interpretation of the Squire 1903 cello piece I'm working on (Danse Orientale, from Six Morceaux Melodiques No. 2) for which there are no recordings that I've found. It contains many tempo changes and (I have long suspected) many more that are unmarked and simply a 'norm' of the day. This book helped me make better educated assumptions.

An example of the types of observations made:

"As the previous chapter has shown, early 20th-century performers made extensive use of tenutos or agogic accents followed by shortened notes. There was also a very general tendency, in patterns of long and short notes, to lengthen the long notes and hurry and lighten the short notes. To a late 20th-century listener, the effect is a rather casual, 'throwaway' style of rhythm, because short notes, whether single or in groups, tend to receive less emphasis and clarity of definition than we expect in modern performances, and because the practice of shortening short notes often leads to acceleration. It also produces a tendency to overdot dotted rhythms." [followed by six pages of discussion about overdotting]

If that kind of thing doesn't grab you, this book probably isn't for you. What I felt as 'thorough', others may find tedious. I really wish the book came with a CD, but since it was published in 1992, I doubt they even considered it.

I laughed upon hearing about treatises like this one, published in Amsterdam in 1938: Recovery or Ruin of the Art of Violin Playing (The Steel String, Enemy of Art)

[Richard Pohl · Rating 4 out of 5]

Well, after reading more recent books on the subject, including the one by the same author, I am not that impressed - it should serve more like a supplement with many examples from recordings of various soloists, ensembles and orchestras for the other book by Mr Philip - Performing Music in the Age of Recording. For further reference I recommend Hudson (The History of Tempo Rubato) and da Costa (Off the Record).

[David · Rating 4 out of 5]

Excellent coverage of topics, with a surplus of examples. As a pianist, I found most of the discussion more appliccable to strings. Piano, winds, and strings were discussed, as well as legato, portamento, rubato and tempo vis-vis different conductors/orchestras. Good read if you like details.