Performance Practice: Interview with musicologist and Bärenreiter editor Clive Brown

Question: You are very well known for your pioneering work in performance practice. The term and all its ramifications are gaining in recognition and application today. Where does performance practice have its origins?

Clive Brown: It’s not a new thing. Already in the early 19th century people were concerned about performing the music of older composers in the style appropriate to it. When the 21-year-old violinist Spohr played in Leipzig in 1804, Friedrich Rochlitz admired ‘his insight into the spirit of different compositions, and his artistry in reproducing each in its own spirit’, which he had not observed to this extent in the playing of other musicians. Rochlitz found this particularly impressive in his quartet playing where he was ‘almost completely another person when he, for example, plays Beethoven (his darling, whom he handles splendidly), or Mozart (his ideal), or Rode (whose grandiosity he knows very well how to assume, without any scratching or scraping, yielding little to him, particularly in fullness of tone), or when he plays Viotti and galant composers: he is a different person, because they are different people.

Around the same time people were concerned that the proper tempos for Haydn and Mozart were being forgotten. In the second decade of the 19th century, Salieri provided Mälzel’s metronome with marks for Haydn’s Die Schöpfung, of which he had directed the premiere, and Gottfried Weber wrote an article about un-authentic tempos in Mozart’s Die Zauberflöte. During the next few decades more “Performance Practice: Interview with musicologist and Bärenreiter editor Clive Brown”

10 Interesting Facts About Johannes Brahms

by Jacy Burroughs

Brahms

1. Johannes Brahms was born on May 7, 1833. His father was a town musician who played a variety of instruments, mostly horn and double bass.

2. Brahms began playing piano at the age of 7. By the time he was a teenager, he was helping the family financially by performing in inns, brothels, taverns and along the city docks. Brahms is also believed to have begun composing early in his life, but destroyed his early compositions. He did not become famous as a composer until April and May of 1853, when he was on a concert tour as accompanist to the Hungarian violinist Eduard Reményi.

3. In 1853, Brahms met Robert Schumann. Schumann was so impressed with Brahms’ compositions that he wrote an article in his Neue Zeitschrift für Musik, praising the young composer’s genius and heralding him as the one who could overthrow the New German School of Liszt and Wagner.

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