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

Bruce Haynes

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Descriptions du produit

Revue de presse

Haynes always writes as the insider performer, and his writing is fresh and direct...likely to be enjoyed by most musicians. (David Ledbetter, British Clavichord Society)

Bruce's arguments are rich, not obvious, and very convincing. Read Bruce's ideas: applaud, question, be infuriated. But you will never think about early music as you did before. (Clifford Bartlett, Early Music Review)

Présentation de l'éditeur

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.

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Couverture | Copyright | Table des matières | Extrait | Index
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Amazon.com: 4.1 étoiles sur 5  8 commentaires
12 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Future of the Past.... 27 mars 2008
Par Grant Colburn - Publié sur Amazon.com
Format:Relié
Bruce Haynes has created a great book for those wishing to have a further understanding of not only what made baroque music "tick" in its own day, but what efforts are being made to keep it ticking today. His efforts to show how we are still searching for how baroque musicians actually thought about and played the music of their time through the hazy mist of Romanticism and modernism is an eye opener, right down to the unruly audiences at operas and the cheers during pieces while being played. Also the high degree of improvisation which was required for many pieces for them to truly take off as they were originally meant to.

Plus, near and dear to my heart is the section on modern period composition and the mention of Vox Saeculorum, a modern guild for period composers. The future of "early" music is definitely moving forward, probably in ways that many have never dreamt of....
24 internautes sur 29 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 The Philosophy Behind HIP 28 février 2009
Par M. De Sapio - Publié sur Amazon.com
Format:Relié
Bruce Haynes' THE END OF EARLY MUSIC is a book about the historical performance movement, its aims and philosophy and its place in the modern musical scene. Haynes traces HIP (historically informed performance) in history, contrasting its philosophy with the romantic mindset which preceded it (which included the notions of absolute music, canonism, and the "transparent performer"). But Haynes' book is not simply a polemic against "mainstream" (i.e. non-historically informed) ways of performing older music; he outlines and critiques different trends within HIP itself, coming down squarely on the side of what he calls the Eloquent Style, a "passionate oratorical manner...based on declamation and gestural phrasing".

Part I of the book is brilliant. Haynes outlines what he discerns as the three successive styles of playing early music in the 20th century. The grand romantic manner, with its swooping portamento and rhythmic liberties, was a carry-over from the previous century. In reaction to this, and influenced by the "objectivist" aesthetic of Stravinsky, a new "Modernist" style developed in the 1930's that was extremely precise, literalistic, and emotionally detached (this is the Academy of St. Martin-in-the-Fields variety of baroque performance). This style, stiff, mechanical, lacking in inflection, was far worse than Romantic Baroque; Haynes considers it an analogue to the mechanized standardization of the Industrial Revolution. The 1960's saw the beginnings of the Period Style which is now practiced by HIP musicians all over the world. Haynes further divides Period Style into two trends -Straight Style (or "Modern Lite", as he calls it), and the Eloquent Style, which Haynes feels represents the true baroque aesthetic.

As a historical performance student and performer, I am in fundamental agreement with Haynes' ideas, even if I have quibbles with certain particulars. Although the book has "early music" in the title, it is pretty much limited to baroque music, Haynes' area of specialization; Haynes does not make it clear how much of what he says is also applicable to Renaissance or Classical music. Moreover, it is hardly a "history of music", as the subtitle proclaims, but rather a history of musical interpretation from the romantic era to the present with the baroque era as the point of reference.

At times Haynes could have chosen his words better. As a Catholic, I was dismayed by the language he used in comparing the romantic concert to religious ritual in the chapter "Classical Music's Coarse Caress": "Music of this type thus risks becoming liturgy, UNTHINKING AND UNPROVOCATIVE [my emphasis]...Ritual actions are those that, because they are often repeated, lose the meaning they once possessed, and become automatic". I don't know what Haynes' religious convictions are, but he should have chosen his words more carefully here so as not to offend.

Haynes seems unwilling to give the 19th century any credit whatsoever, and occasionally his claims left me with some questions. For instance, he claims that the 19th-century bred a literalistic approach to the score along with the idea of the performer as mere "executant" of the composer's wishes. But how is this to be squared with the notion of romantic performers using compositions as vehicles for soul-searching personal expression? Elsewhere Haynes rails against the idea of canonism, or playing an exclusive list of compositions by "dead composers". But surely it was precisely romanticism's rejection of the ephemeral music-making of previous eras that allowed the early music revival to take place? On one occasion, Haynes seems blatantly to contradict himself. On p. 220 he criticizes HIP performances of Beethoven and romantic music for not sounding like the recordings of the early years of the 20th century, while earlier on the same page he had suggested that those early recordings don't represent an authentic Beethovenian performing style to begin with.

Other complaints I had were in the niceties of style. Haynes has developed a whole lexicon of names for the concepts he describes (Eloquent Style, Strait Style) and for the most part they work nicely (though the term "musicking" strikes me as silly). But he frequently refers to "Classical music" when it's clear he means "classical music" (the capital "C" indicates the Classical style period, whereas the lower-case "c" indicates "serious" or "art" music). Haynes' tone is informal, to the point of writing "kids" instead of "children" and "paper" instead of "newspaper". In general, the book could have been more carefully edited.

All in all, this is an important and very readable book on the fascinating subject of musical interpretation.
13 internautes sur 16 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Superb! Thought-provoking 27 décembre 2007
Par 18th century flute - Publié sur Amazon.com
Format:Relié|Achat vérifié
Bruce Haynes latest book "The End of Early Music" is superb, and applicable to those of us in the Period music field, as well as to all classical musicians and classical music organization administrators. As we all struggle for audience and relevance, this book can provide context and challenge. Recommended without any reservation.
3 internautes sur 3 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Thought-provoking perspective 12 janvier 2014
Par Emily L. Ferguson - Publié sur Amazon.com
Format:Relié|Achat vérifié
At first I couldn't stand this book. Every little section seemed to formulaically begin with someone else's opinion, a quote from some scholar or opinionator, as tho the author pulled a skillion little zingers out of years of reading and assembled them all as headings on every subject in the book.

Since reading Haskell's survey of the history of the Early Music Revival, I'm returning to this book and seeing it thru new eyes. The little zingers are still irritating, and the choice of musical examples (which you need to either own or track down or subscribe to) date the book (2007). But the premise is becoming more valid with every day as more and more performers are speaking this particular musical dialect natively and without coming to it from some other one (20C "classical" music dialect). The book addresses the full spectrum of issues in performance of the repertoire carefully and thoughtfully, especially from the basis of a long life of involvement with performance. So one finds chapters dealing with instruments, ornaments, sources, etc.

The point size of the font is very small, there is a lot of text to chew on and for middle-aged eyes it might be some work to do so, but give it a try. I believe the book is not intended for anything like a straight-thru reading.
4 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Secrets of interpretation. 20 janvier 2009
Par J. Mincham - Publié sur Amazon.com
Format:Relié
A provoking book which should be read by all practising musicians. It is also accessable to the general music lover who is interested in the nature, history and development of musical interpretation, mainly through the copious musical examples which are not simply printed. They can be accessed and heard through internet links.

How and why do 'schools' of musical interpretation develop over a period and then transform into something different? You will be left thinking about this and other related topics when you have read and absorbed this book.Julian Mincham
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