Colin Lawson – författare

Belarus is unique among the states of the former Soviet bloc, in that after a decade of transition', the country remains stalled' and backward-oriented. Political and economic changes are characterised by half-measures, and recently a new suppression of dissent has been introduced; the country balances between the prospect of democracy and a retreat to authoritarianism. These developments contrast starkly with the many democratic changes in neighbouring states and suggest a possible alternative path for future development in Eastern Europe. This book provides a thorough overview of current developments in Belarus. It looks at historical, political, economic and social changes, and at international relations, especially relations with Russia and the European Union, considering all these factors both in their domestic and international contexts and defines the type of democracy, if any, which exists in Belarus, exploring the prospects for further democratisation.

This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestra's continued role in a changing society. Other topics discussed include the art of orchestration, scorereading, conductors and conducting, international orchestras, recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts.

Mozart's Clarinet Concerto is of supreme importance as his last instrumental work. Yet there are a number of special problems surrounding the piece, since the autograph is lost and the unique instrument for which it was written has not survived. This book provides evidence of the development of the clarinet, Mozart's encounter with it, and the composition and subsequent reception of the Clarinet Concerto. An analysis of the work is complemented by discussion of performance practice and of surviving relevant instruments. Expertise from the author's colleagues contributes to some valuable appendices.

The Cambridge Companion to the Clarinet is a practical guide to the world of the clarinet. It offers students and performers a composite survey of the history and repertoire of the instrument from its origins to the present day, as well as practical guidance on teaching and performing. Special focus is made on the various members of the extensive clarinet family and specialist chapters provide advice on the mechanics of clarinet playing, the art of historical performance, contemporary techniques, and the clarinet in jazz. A chapter on the professional clarinettist introduces the world of the performing musician, while a survey of the clarinet on record provides the listener with a useful guide to the recording history of the instrument. Informed by the experience of distinguished performers and teachers, this book makes an essential and stimulating reference book for all clarinet enthusiasts.

Mozart's Clarinet Concerto is of supreme importance as his last instrumental work. Yet there are a number of special problems surrounding the piece, since the autograph is lost and the unique instrument for which it was written has not survived. This book provides evidence of the development of the clarinet, Mozart's encounter with it, and the composition and subsequent reception of the Clarinet Concerto. An analysis of the work is complemented by discussion of performance practice and of surviving relevant instruments. Expertise from the author's colleagues contributes to some valuable appendices.

On its first appearance in 1891, Brahms' Clarinet Quintet was immediately recognised as a remarkable achievement, and a century later it still has the power to claim the hearts and minds of players and audiences alike. Widely regarded as Brahms' supreme achievement in the field of chamber music, the Clarinet Quintet is here placed in the context of the history of the clarinet and its repertory, and of Brahms' own compositions before 1891. The influence of the Meiningen clarinet virtuoso Richard Mühlfeld unleashed a new vein of creativity in Brahms, and this forms a basis for discussion, together with questions of performance practice (in relation to both clarinet and string quartet) and the legacy of Brahms' clarinet music. These chapters are complemented by a comprehensive analysis of the music.

On its first appearance in 1891, Brahms' Clarinet Quintet was immediately recognised as a remarkable achievement, and a century later it still has the power to claim the hearts and minds of players and audiences alike. Widely regarded as Brahms' supreme achievement in the field of chamber music, the Clarinet Quintet is here placed in the context of the history of the clarinet and its repertory, and of Brahms' own compositions before 1891. The influence of the Meiningen clarinet virtuoso Richard Mühlfeld unleashed a new vein of creativity in Brahms, and this forms a basis for discussion, together with questions of performance practice (in relation to both clarinet and string quartet) and the legacy of Brahms' clarinet music. These chapters are complemented by a comprehensive analysis of the music.

Offering students and performers a concise overview of historical performance, this 1999 book takes into account the many significant developments in the discipline. It addresses practical matters rather than philosophical issues and guides readers towards further investigation and interpretation of the evidence provided, not only in the various early instrumental and vocal treatises, but also in examples from the mainstream repertory. Designed as a parent volume for the series Cambridge Handbooks to the Historical Performance of Music, this book provides an historical basis for artistic decision-making which has as its goal the re-creation of performances as close as possible to the composer's original conception. It relates many of the issues discussed to major works by Bach, Mozart, Berlioz and Brahms, composed c.1700-c.1900, the core period which forms the principal (though not exclusive) focus for the whole series.

This practical guide is intended for all violinists and viola players who wish to give - or to understand and appreciate - historically aware performances of early music for their instruments. It comprises discussion of the literature, history and repertory of the violin and viola, the myriad relevant primary sources and their interpretation, and the various aspects of style and technique that combine to make up well-grounded, period performances. It also considers various related family instruments, contains practical advice on the acquisition of appropriate instruments, and offers suggestions for further reading and investigation. Many of the principles outlined are put into practice in case studies of six works composed c.1700-c.1900, the core period which forms this series' principal (though not exclusive) focus. Music by Corelli, Bach, Haydn, Beethoven, Mendelssohn and Brahms is examined with a view to recreating performances as faithful as possible to the composer's original intention.

This practical guide is intended for all clarinettists with a desire to investigate music of earlier periods. It contains practical help on both the aquisition and playing of historical clarinets, while players of modern instruments will find much advice on style, approach and techniques which combine to make up a well-grounded, period interpretation. The book presents and interprets evidence from primary sources and offers suggestions for further reading and investigation. Most importantly, a series of case studies which include the music of Handel, Mozart and Brahms helps recreate performances which will be as close as possible to the composer's original intention. As the early clarinet becomes increasingly popular worldwide, this guide, written by one of the foremost interpreters of early clarinet music, will ensure that players at all levels - professional, students or amateurs - are fully aware of historical considerations in their performance.

This practical guide is intended for all clarinettists with a desire to investigate music of earlier periods. It contains practical help on both the aquisition and playing of historical clarinets, while players of modern instruments will find much advice on style, approach and techniques which combine to make up a well-grounded, period interpretation. The book presents and interprets evidence from primary sources and offers suggestions for further reading and investigation. Most importantly, a series of case studies which include the music of Handel, Mozart and Brahms helps recreate performances which will be as close as possible to the composer's original intention. As the early clarinet becomes increasingly popular worldwide, this guide, written by one of the foremost interpreters of early clarinet music, will ensure that players at all levels - professional, students or amateurs - are fully aware of historical considerations in their performance.

This practical guide is intended for all violinists and viola players who wish to give - or to understand and appreciate - historically aware performances of early music for their instruments. It comprises discussion of the literature, history and repertory of the violin and viola, the myriad relevant primary sources and their interpretation, and the various aspects of style and technique that combine to make up well-grounded, period performances. It also considers various related family instruments, contains practical advice on the acquisition of appropriate instruments, and offers suggestions for further reading and investigation. Many of the principles outlined are put into practice in case studies of six works composed c.1700-c.1900, the core period which forms this series' principal (though not exclusive) focus. Music by Corelli, Bach, Haydn, Beethoven, Mendelssohn and Brahms is examined with a view to recreating performances as faithful as possible to the composer's original intention.

Offering students and performers a concise overview of historical performance, this 1999 book takes into account the many significant developments in the discipline. It addresses practical matters rather than philosophical issues and guides readers towards further investigation and interpretation of the evidence provided, not only in the various early instrumental and vocal treatises, but also in examples from the mainstream repertory. Designed as a parent volume for the series Cambridge Handbooks to the Historical Performance of Music, this book provides an historical basis for artistic decision-making which has as its goal the re-creation of performances as close as possible to the composer's original conception. It relates many of the issues discussed to major works by Bach, Mozart, Berlioz and Brahms, composed c.1700-c.1900, the core period which forms the principal (though not exclusive) focus for the whole series.

This introduction to the early horn provides a historical account of the instrument's development during the eighteenth and nineteenth centuries as well as a practical guide to playing techniques and principles of interpretation. The book aims to help performers to play in an historically appropriate style and to guide listeners towards a clearer understanding of the issues which affected the way the horn was played during the period. It includes chapters on the historical background of the instrument, its design and development, and choice of instrument today. A series of case studies which include the music of Bach, Haydn, Mozart, Beethoven, Schubert, Schumann and Brahms, will help performers to make a well-grounded, period interpretation of major works from the horn repertoire. Complemented by an extensive bibliography, this accessible guide will appeal to players of all levels.

Early Keyboard Instruments covers a wide range of performance issues on keyboard instruments relevant to the music from c.1700-c.1900. It includes descriptions of the harpsichords, clavichords, pianos and other stringed-keyboard instruments used by performers of the period as well as aspects of technique such as harpsichord registration, piano pedalling and keyboard fingering. Aspects of the notation of keyboard music are discussed, as is articulation, embellishment, tempo flexibility and rubato. A substantial chapter is devoted to case studies, illustrating how the aspects of performance discussed in the rest of the book are worked out in practice, whether playing on period instruments or on the modern piano.

Early Keyboard Instruments covers a wide range of performance issues on keyboard instruments relevant to the music from c.1700-c.1900. It includes descriptions of the harpsichords, clavichords, pianos and other stringed-keyboard instruments used by performers of the period as well as aspects of technique such as harpsichord registration, piano pedalling and keyboard fingering. Aspects of the notation of keyboard music are discussed, as is articulation, embellishment, tempo flexibility and rubato. A substantial chapter is devoted to case studies, illustrating how the aspects of performance discussed in the rest of the book are worked out in practice, whether playing on period instruments or on the modern piano.

This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestra's continued role in a changing society. Other topics discussed include the art of orchestration, scorereading, conductors and conducting, international orchestras, recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts.

This practical guide for flautists provides a survey of the instrument - its development, its technique, its repertoire and its literature - between 1700 and 1900. Each issue is set in a musical context and technical and stylistic matters such as fingering, tone production, articulation, ornamentation, vibrato, expression and delivery are examined in depth, applying evidence from historical sources to the standard flute repertoire. A series of case studies offers detailed interpretations of music by Hotteterre, Handel, Bach, Gluck, Mozart and Boehm. As an internationally recognised soloist, orchestral player and teacher of modern and historical flutes, Rachel Brown brings a wealth of experience to amateurs and professionals alike, encouraging stylistic awareness through an understanding of the way in which composers and flautists approached instruments of the past. Copious music examples, illustrations, fingering charts and bibliographies make this a standard reference book for both 'period' and modern flautists.

This practical guide for flautists provides a survey of the instrument - its development, its technique, its repertoire and its literature - between 1700 and 1900. Each issue is set in a musical context and technical and stylistic matters such as fingering, tone production, articulation, ornamentation, vibrato, expression and delivery are examined in depth, applying evidence from historical sources to the standard flute repertoire. A series of case studies offers detailed interpretations of music by Hotteterre, Handel, Bach, Gluck, Mozart and Boehm. As an internationally recognised soloist, orchestral player and teacher of modern and historical flutes, Rachel Brown brings a wealth of experience to amateurs and professionals alike, encouraging stylistic awareness through an understanding of the way in which composers and flautists approached instruments of the past. Copious music examples, illustrations, fingering charts and bibliographies make this a standard reference book for both 'period' and modern flautists.

The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.

Belarus is unique among the states of the former Soviet bloc, in that after a decade of transition', the country remains stalled' and backward-oriented. Political and economic changes are characterised by half-measures, and recently a new suppression of dissent has been introduced; the country balances between the prospect of democracy and a retreat to authoritarianism. These developments contrast starkly with the many democratic changes in neighbouring states and suggest a possible alternative path for future development in Eastern Europe. This book provides a thorough overview of current developments in Belarus. It looks at historical, political, economic and social changes, and at international relations, especially relations with Russia and the European Union, considering all these factors both in their domestic and international contexts and defines the type of democracy, if any, which exists in Belarus, exploring the prospects for further democratisation.

Drawing on the expertise of a wide range of professionals, Inside the Contemporary Conservatoire: Critical Perspectives from the Royal College of Music, London presents fresh perspectives on the work of music conservatoires today through an in-depth case study of the Royal College of Music (RCM), London. Problematising the role and purpose of conservatoires in the context of changing cultural and societal conditions, the contributors reframe the conservatoire as a vehicle for positive change in the performing arts and society at large.Organised into three main sections, the volume covers conservatoire identities and values, teaching and learning music at a conservatoire, and reflections on the conservatoires of the future. Diverse voices from inside and outside the RCM reflect viewpoints from professional musicians, academics, industry, and the student community, spanning topics such as arts practice, music pedagogy and education, technology, inclusion, employability, entrepreneurship, performance science, material culture, and philanthropy.With chapters that combine interviews, case studies, analysis, critical reflection, and perspectives from inside and outside the RCM, this book offers an in-progress model for the forward-thinking conservatoire, underpinned by renewed emphasis on equitable, innovative, sustainable, and technologically enabled artistic practice.

Drawing on the expertise of a wide range of professionals, Inside the Contemporary Conservatoire: Critical Perspectives from the Royal College of Music, London presents fresh perspectives on the work of music conservatoires today through an in-depth case study of the Royal College of Music (RCM), London. Problematising the role and purpose of conservatoires in the context of changing cultural and societal conditions, the contributors reframe the conservatoire as a vehicle for positive change in the performing arts and society at large.Organised into three main sections, the volume covers conservatoire identities and values, teaching and learning music at a conservatoire, and reflections on the conservatoires of the future. Diverse voices from inside and outside the RCM reflect viewpoints from professional musicians, academics, industry, and the student community, spanning topics such as arts practice, music pedagogy and education, technology, inclusion, employability, entrepreneurship, performance science, material culture, and philanthropy.With chapters that combine interviews, case studies, analysis, critical reflection, and perspectives from inside and outside the RCM, this book offers an in-progress model for the forward-thinking conservatoire, underpinned by renewed emphasis on equitable, innovative, sustainable, and technologically enabled artistic practice.

Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences.