The End of Early Music : A Period Performer's History of Music for the Twenty-First Century

## Abstract Its performing traditions lost to time, early music has become the subject of significant controversy across the world of classical music and presents numerous challenges for musicians, composers, and even listening audiences. The studies of instruments and notes on early manuscript pages may help to restore early music to its intended state, yet the real process is interpretive, taking place within performers themselves. This book is about historical performance practice in its broadest sense. The book begins by identifying the most common performing styles, using and comparing sound recordings from the past. To help musicians distinguish between Period and Romantic styles, the book engages with the most current and controversial topics in the field in defining the differences between them. Throughout, it presents many compelling arguments for using pre-Romantic values as inspiration to re-examine and correct Romantic assumptions about performance. From Werktreue and the Urtext imperative to formality in ritualized performances and authenticity as an industry standard, this book offers straightforward explanations of the most significant questions in the field. Two chapters compare Baroque expression through rhetoric and gestural phrasing to the Romantic concept of autobiography in notes. The book argues that performances are more pleasing and convincing to contemporary performers and listeners not through the attempt to return to the past, but rather by endeavoring to revive as best we can the styles and techniques that originally produced the music. "Its performing traditions lost to time, early music has become the subject of significant controversy across the world of classical music and presents numerous challenges for musicians, composers, and even listening audiences. The studies of instruments and notes on early manuscript pages may help to restore early music to its intended state, yet the real process is interpretive, taking place within performers themselves. This book is about historical performance practice in its broadest sense. The book begins by identifying the most common performing styles, using and comparing sound recordings from the past. To help musicians distinguish between Period and Romantic styles, the book engages with the most current and controversial topics in the field in defining the differences between them. Throughout, it presents many compelling arguments for using pre-Romantic values as inspiration to re-examine and correct Romantic assumptions about performance. From Werktreue and the Urtext imperative to formality in ritualized performances and authenticity as an industry standard, this book offers straightforward explanations of the most significant questions in the field. Two chapters compare Baroque expression through rhetoric and gestural phrasing to the Romantic concept of autobiography in notes. The book argues that performances are more pleasing and convincing to contemporary performers and listeners not through the attempt to return to the past, but rather by endeavoring to revive as best we can the styles and techniques that originally produced the music." -- Publisher's abstract Covering Historical Performance Practice In Its Broadest Sense This Text Identifies Common Performing Styles, Comparing And Using Sound Recordings From The Past. To Help Musicians Distinguish Between Period And Romantic Styles, It Engages With Controversial Topics In The Field In Defining The Differences Between Them. Introduction -- Part I. Performing Styles. When You Say Something Differently, You Say Something Different ; Mind The Gap : Current Styles ; Mainstream Style : Chops, But No Soul -- Part Ii. How Romantic Are We? Classical Music's Coarse Caress ; The Transparent Performer ; Changing Meanings, Permanent Symbols -- Part Iii. Anachronism And Authenticity. Original Ears ; Ways Of Copying The Past ; The Medium Is The Message : Period Instruments -- Part Iv. What Makes Baroque Music Baroque? Baroque Expression And Romantic Expression Compared ; The Rainbow And The Kaleidoscope : Romantic Phrasing Compared With Baroque -- Part V. The End Of Early Music. Passive And Active Musicking : Stop Staring And Grow Your Own ; Perpetual Revolution. Bruce Haynes. Includes Bibliographical References (p. 251-266) And Index. "This book is about historical performance practice in its broadest sense. A veteran of the early music movement and an experienced performer himself, Bruce Haynes begins by identifying the most common performing styles, using and comparing sound recordings from the past. To help musicians distinguish between Period and Romantic styles, he expertly engages with the most current - and controversial - topics in the field in defining the differences between them. Throughout, he presents many compelling arguments for using pre-Romantic values as inspiration to re-examine and correct Romantic assumptions about performance. This book also offers a fresh perspective on a broad spectrum of questions about music in history."--Jacket Part history, part explanation of early music, this book also plays devil's advocate, criticizing current practices and urging experimentation. Haynes, a veteran of the movement, describes a vision of the future that involves improvisation, rhetorical expression, and composition. Written for musicians and non-musicians alike.