Abstract
My project focuses on playing ‘historically inspired performances’ of late eighteenth-century repertoire on the modern clarinet. I aim to demonstrate a sophisticated understanding of Classical performance ideologies and performance practice in a set of two recitals. In the process, I aim to get closer to the living experience of the music and reach beyond the notation in search for lost performance traditions1. Ralph Vaughan Williams compares a page of music to a railway timetable and argues that the page ‘tells us no more about the living experience of the music than the timetable tells us about the sights to be enjoyed during the journey’2. Thus, I seek to unveil the sights I reason ought to be searched throughout the course of this thesis.The design of this project is divided into three main chapter segments containing different genres of repertoire as case studies. The repertoire that I case study are from works and composers that I believe will provide me with the most holistic understanding of late eighteenth-century style. Throughout discussion, I have included some basic analysis and discussion of themes and phrases, because Peter Le Huray argues that these considerations are necessary in achieving a degree of ‘authenticity’ in performance3. I also discourse my own interpretations of the musical parameters that I deem central in creating an inspired coherent musical whole....
| Date of Award | 7 Oct 2020 |
|---|---|
| Original language | English |
| Supervisor | Emily Worthington (Main Supervisor) |