Synopses & Reviews
The music of the medieval, Renaissance, and baroque periods have been repeatedly discarded and rediscovered ever since they were new. An interest in music of the past has been characteristic of a part of the musical world since the early 19th century-from about the time of the rise of museums. The revival of Gregorian chant in the early 19th century; the Cecilian movement in later 19th-century Germany seeking to immortalize Palestrina's music as a sound-ideal; Mendelssohn's revival of Bach: these are some of the efforts made in the past to restore still earlier music. In recent years this interest has taken on particular meaning, representing two specific trends: first, a rediscovery of little-known underappreciated repertories, and second, an effort to recover lost performing styles, with the conviction that such music will come to life anew with the right performance. Much has been gained in the 20th century from the study and revival of instruments, playing techniques, and repertories. What began as a movement akin to the arts-and-crafts movement took on political overtones in the 1960s, fueled by a sense of return to the natural, a rebellion against received wisdom and enforced conformity, and a notion that early music was a participant's music as much as it was a listener's. The enormous success of a few performers and groups has tended to professionalize early music, and the amateur, participatory aspect has gradually faded. In this VSI, Thomas Forrest Kelly frames chapters on the forms, techniques, and repertories practices of the medieval, Renaissance, and baroque periods with discussion of why old music has been and should be revived, and a short history of early music revivals.
Review
When this book was announced, the only question was whether it would be any good. The answer, emphatically, is yes, and the author addresses both specialist readers and newcomers. - The Independent
"This introduction may be 'short' but it's packed with good stuff. Authoritative, surprisingly comprehensive for its size, and presented with all of Professor Kelly's usual grace, wit, and clarity."--Paul Hillier, founding director, The Hilliard Ensemble, and former director, Early Music Institute, Indiana University
"Smart opinions and a coherent overview of what many still consider a Very Contentious Topic. Professor Kelly offers historical perspective, not only on the music itself, but the long trail of interpreters who preceded the more recent Revival, plus a very astute recognition that present ideas could soon seem as dated as those of Beecham and Stokowski -- or Mozart and Mendelssohn. Not only is Professor Kelly's heart in the right place, but his ears and brain seem to be more correctly connected than usual in the polemical world of early music."--Christopher Hogwood, emeritus director, Academy of Ancient Music
Synopsis
From Gregorian chant to Bach's Brandenburg Concerti, the music of the Medieval, Renaissance, and Baroque periods is both beautiful and intriguing, expanding our horizons as it nourishes our souls. In this Very Short Introduction, Thomas Forrest Kelly provides not only a compact overview of the music itself, but also a lively look at the many attempts over the last two centuries to revive it. Kelly shows that the early-music revival has long been grounded in the idea of spontaneity, of excitement, and of recapturing experiences otherwise lost to us--either the rediscovery of little-known repertories or the recovery of lost performing styles, with the conviction that, with the right performance, the music will come to life anew. Blending musical and social history, he shows how the Early Music movement in the 1960s took on political overtones, fueled by a rebellion against received wisdom and enforced conformity. Kelly also discusses ongoing debates about authenticity, the desirability of period instruments, and the relationship of mainstream opera companies and symphony orchestras to music that they often ignore, or play in modern fashion.
About the Author
Thomas Forrest Kelly is Morton B. Knafel Professor of Music at Harvard University and a past president of Early Music America.
Table of Contents
List of Illustrations
Chapter 1: What is Meant by "Early Music"?
Chapter 2: Repertories: Medieval
Chapter 3: Repertories: Renaissance
Chapter 4: Repertories: Baroque
Chapter 5: Performing Issues
Chapter 6: A Very Short History of the Modern Early Music Revival
Further Reading
Index