Professor Clive Brown
0113 343 8220
School of Music, room 2.03
MA (Cantab.), MA, DPhil (Oxon.)
Principal academic posts have been at Oxford (1980-91) and Leeds universities. Research interests include Classical and Romantic performing practice, historical violin playing, scholarly editing, 18th- and 19th-century German music, early Romantic opera, Anton Eberl, Beethoven, Spohr, Mendelssohn, Ferdinand David, Brahms, Elgar.
Clive Brown read History at Emmanuel College, Cambridge and following graduation in 1969 stayed on to take part 2 of the Music Tripos. After a period teaching music and performing as a violinist, he turned to research, gaining his D. Phil in 1980 at Oxford, where he was a member of the Faculty of Music and lecturer at Queen’s and Brasenose Colleges between 1980 and 1991. After a period of freelance work, concert planning both for the South Bank Centre, London and the Official Edinburgh Festival, he accepted a post at Bretton Hall, College of the University of Leeds. There he has served as Head of School (1997-2002) and after the merger with the Department of Music on the Leeds campus, Director of Research (2003-5) and then Head of School (2006-9) of the newly formed School of Music at the University of Leeds.
He has published widely on 18th- and 19th-century topics, particularly performing practice, and remains active as a concert violinist specialising in the historically-informed performance of Classical and Romantic music. He is regularly invited to direct historical performance workshops and give guest lectures at universities and conservatories internationally; since 1997 in Germany (Berlin, Leipzig, Carlsruhe), Austria (Vienna), Switzerland (Bern, Lucerne, Basel), Netherlands (Utrecht), Belgium (Brussels), Spain (Barcelona, Alcala, Seville), Italy (Venice, Cremona, Padua, La Spezia), USA (Washington D.C., Stanford Ca.), Australia (Sydney).
- Louis Spohr, A Critical Biography, (Cambridge, Cambridge University Press, 1984) pp. 364 (German translation as: Louis Spohr: Eine kritischer Biographie (Kassel, 2009))
- Classical and Romantic Performing Practice 1750-1900 (Oxford, OUP, 1999) pp. 662 (Chinese translation as: 古典與浪漫時期演奏法 1750-1900 (Taipei, 2012))
- A Portrait of Mendelssohn (New Haven and London, YaleUniversity Press, 2003) ISBN 0-300-09539-2. pp. xxxiii + 551
- Selected Works of Louis Spohr, 10 volumes, edited with introductions (New York, Garland Publishing, 1987-90) pp. 3809 (of which 3674 are music)
- L. van Beethoven, Choral Fantasia op. 80 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Härtel, 1993) pp. 70 (of which 62 are music)
- C. M. v. Weber, Mass in E flat J. 224 and Offertorium J. 226 (a critical edition of the full score with notes on sources and performing practice), (London, Faber Music, 1993) pp. 115 (of which 105 are music)
- L. van Beethoven, Fifth Symphony op. 67 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Härtel, 1996) pp. 119 (of which 103 are music)
- Beethoven, Second Symphony op. 36 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Härtel, 2001) pp. viii + 79 (of which 71 are music)
- Beethoven, First Symphony op. 21 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Härtel, 2004) pp. viii + 60 (of which 52 are music)
- Franz Clement, Violin Concerto in D (1805), with cadenzas by Clive Brown (A-R Editions, 2005) pp xiv+182 (of which 177 are music)
- Johannes Brahms: Violin Concerto op. 77 with cadenzas by Joachim, Halir, Heermann, Busoni and Auer, and two shortened versions of Joachim’s cadenza by Clive Brown (Bärenreiter, 2006). I: Full score, Preface pp. iii-xxxvi + score pp. 1-101. II Piano reduction, Preface pp. iii-xix + score pp. 2-48. III Urtext solo part pp. 1-19 and solo part after Joachim’s revised edition of 1905 pp. 1-19. IV Critical Commentary
- Elgar, Music for Violin Elgar Complete Edition vol. 37 (Rickmansworth, Elgar Society Edition, 2007) xxvi+325 (of which 232 are music) (preface and commentary comprise 46,544 words)
- Felix Mendelssohn-Bartholdy, Die Hochzeit des Camacho Fassung letzter Hand nach dem gedrucketen Klavierauszug von 1828, 3 vols, (Breitkopf und Härtel, 2011). Vols. I-II pp. i-x+564, vol. 3 pp. 26.
- Beethoven, Violin Concerto (Wiesbaden, Breitkopf und Härtel, 2012). I: Full score, Preface pp. iii-xx, Score pp. 1-76, critical commentary pp. 77-94. II Piano reduction, Preface pp. 3-19 + score pp. 20-67. III Urtext solo part pp. 1-20 and solo part ‘with historically-informed fingering and bowing by the editor’, score pp. 1-22+commentary pp. 23-28.
- Historical performing practice (especially late eighteenth and nineteenth centuries)
- German Romanticism
- late eighteenth- and early nineteenth-century opera
- scholarly editing
Research postgraduate supervision only
(2012) 古典與浪漫時期演奏法 1750-1900. Taipei:
Revised Chinese translation of Classical and Romantic Performing Practice 1750-1900
(2009) Louis Spohr Eine kritische Biographie. Kassel, Germany: Verlag Merseburger Berlin GmbH.
A study of Spohr’s life, works and influence (translation by Wolfram Boder of Louis Spohr: A critical Biography (revised).
(2008) Classical and Romantic Performing Practice 1750-1900.
© Clive Brown 1999. All rights reserved. Despite the continuing interest in historically informed vocal and instrumental performance practice, the relationship between a composer's notation and the sounds it was intended to elicit remains problematic. Early recordings reveal a strikingly different sound and style from modern practice, and written sources indicate that earlier practice was even more radically different. This book looks beyond modern responses to the notation in an attempt to understand how Classical and Romantic composers may have expected to hear their music realized in performance. Theories of accentuation and their relationship to practice are discussed in relation to the notation of accents and dynamics. Similarly, articulation and phrasing are examined in theory and practice as well as in relation to composers' articulation markings and slurs. String bowing is treated as a special case, since detailed bowing instructions provide particularly important evidence of the difference between historical and current practice. Aspects of tempo are covered in detail in four chapters: evolving tempo conventions, the impact of the metronome, the range of meanings of tempo terms, the practices of particular composers, and various types of tempo modification are examined. Changing attitudes to embellishment, ornamentation, and improvization during the period are discussed in general; and individual chapters examine particular issues relating to appoggiaturas, trills, turns and other ornaments, vibrato, and portamento. A final section deals with the fermata, recitative, arpeggiation in keyboard playing; the variable dot of prolongation and other aspects of rhythmic flexibility; and the conventions of 'heavy' and 'light' performance.
(2003) A Portrait of Mendelssohn. New Haven and London: Yale University Press.
(1999) Classical and Romantic Performing Practice 1750-1900. Oxford: OUP.
(1996) Die Neubewertung der Quellen von Beethovens Fünfte Symphonie/A New Appraisal of the Sources of Beethoven's Fifth Symphony. Wiesbaden: Breitkopf und Härtel.
(1984) Louis Spohr, A Critical Biography. Cambridge: Cambridge University Press.
(2016) Brahms Clarinet Sonata in F minor op. 120 no. 1. Bärenreiter.
(2016) Brahms Clarinet Sonata in E flat major op. 120 no. 2. Bärenreiter.
(2016) Brahms Violin Sonata in F minor op. 120 no. 1. Bärenreiter.
(2016) Brahms Viola Sonata in E flat major op. 120 no.2. Bärenreiter.
(2016) Brahms Violin Sonata in G major op. 78. Bärenreiter.
(2016) Brahms Sonata Movement in C minor WoO2. Bärenreiter.
(2012) Beethoven: Violin Concerto. Breitkopf und Härtel.
(2011) Mendelssohn: Die Hochzeit des Camacho (Fassung letzter Hand nach dem gedrucketen Klavierauszug von 1828). Breitkopf und Härtel.
(2007) Edward Elgar Violin Music. Elgar Society Edition.
(2006) Brahms: Violin Concerto op. 77. Bärenreiter Verlag.
(2005) Franz Clement: Violin Concerto in D Major (1805). A-R Editions Inc., Middleton, Wisconsin.
(2004) Beethoven: Symphony No. 1 in C. Breitkopf und Härtel.
(2001) Beethoven: Symphony No. 2 in D. Bretikopf und Härtel (Wiesbaden).
(1996) Beethoven: Symphony No. 5 op. 67. Breitkopf und Härtel.
(1993) C. M. v. Weber: Mass in E flat J. 224 and Offertorium J. 226. Faber Music, London.
(1993) Beethoven: Choral Fantasia op. 80. Breitkopf und Härtel.
(1990) Selected Works of Louis Spohr : 1) Faust. Garland Publishing (New York).
(1990) Selected Works of Louis Spohr: 9) Chamber music for Strings. Garland Publishing (New York).
(1989) Selected Works of Louis Spohr: 6) Symphonies (Nos 1, 2, & 5). Garland Publishing (New York).
(1988) Selected Works of Louis Spohr: 2) Jessonda.
(1988) Selected Works of Louis Spohr: 3) Pietro von Abano. Garland Publishing (New York).
(1988) Selected Works of Louis Spohr: 8) The Complete Lieder Sets. Garland Publishing (New York).
(1987) Selected Works of Louis Spohr: 7) Concertos (WoO 11, Opp. 62 & 79). Garland Publishing (New York).
(1987) Selected Works of Louis Spohr: 5) Des Heilands letzte Stunden. Garland Publishing (New York).
(1987) Selected Works of Louis Spohr: 4) Die letzten Dinge. Garland Publishing (New York).
(1987) Selected Works of Louis Spohr: 10) Chamber Music with Piano. Garland Publishing (New York).
Brahms Viola Sonata in F minor op. 120 no. 1. Bärenreiter.
Brahms Violoncello Sonata in E minor op. 38. Bärenreiter.
Brahms Violin Sonata in A major op. 100. Bärenreiter.
Brahms Violin Sonata in E flat major op. 120 no. 2. Bärenreiter.
Brahms Violoncello Sonata in F major op. 99. Bärenreiter.
(2016) “Re-sound Beethoven”, Nineteenth-Century Music Review. : 1-5. (Accepted)
(2014) “In quest of the distinctive language of Classical and Romantic performance”, Early Music. 42.1: 113-118.
(2013) “Marie Soldat and the twilight of the Nineteenth-Century German School of Violin Playing”, Wiener Jahrbuch für Musikwissenschaft. Anklaenge.. (Unpublished)
(2013) “Rediscovering the language of Classical and Romantic performance”, Early Music. 41: 72-74.
(2010) “Performing 19th-century chamber music: the yawning chasm between contemporary practice and historical evidence”, Early Music. 38: 476-480.
This article considers CDs of 19th-century music performed on period instruments, pointing out the predominant lack of correspondence between the performances and the evidence for 19th-century performing practice.
(2008) “A new Beethoven cycle”, Early Music. 36.4: 667-670.
(2007) “Neal Zaslaw and John Spitzer The Birth of the Orchestra (Oxford, OUP, 2004); Richard Maunder The Scoring of Baroque Concertos (Boydell, 2004); Simon McVeigh and Jehoash Hirschberg The Italian Solo Concerto (Boydell, 2004)”, Early Music Performer. 20: 25-27.
(2006) “Louis Spohr: Forgotten Master of the 19th Century”, BBC Music Magazine. : 50-53.
(2006) “Lewis Lockwood and Mark Kroll eds. The Beethoven Violin Sonatas: History, Criticism, Performance”, Early Music. 34: 303-304.
(2005) “Alla Breve”, Quodlibet: Revista de Especialización Musical. 32: 3-21.
The article deals with the meaning of alla breve in late eighteenth- and nineteenth-century music. It considers the way in which different composers employed this metre and its implications for tempo and performance style.
(2005) “El tempo en la musica clasica y romantica (1750-1900)”, Quodlibet. 43: 17-51.
(2004) “La ejecucion violinistisa de Joachim y la interpretacion de la musica para instrumentos de cuerda de Brahms”, Quodlibet: Revista de Especialización Musical. 29: 30-74.
The paper examines Joachim’s influence on Brahms’s string music. (It is a translation of the chapter from Performing Brahms, listed separately).
(2004) “Brahms Klavierquintet ed. C. Debryn and M. Struck (Henle)”, Nineteenth-Century Music Review. i: 203-205.
(2003) “Hugh Macdonald: Berlioz’s Orchestration Treatise (Cambridge, CUP, 2002)”, Journal of Musicological Research. 22: 300-302.
(2002) “Beethoven Symphonies 1-9, ed. Jonathan Del Mar (Bärenreiter)”, Notes. 58: 911-915.
(2000) “Haydn Masses (cond. R. Hickox)”, Gramophone Early Music. iv: 106+.
(2000) “Spohr’s Musical Style and its influence on Nineteenth-Century English Composers”, The National Arts Education Archive Occasional Papers in the Arts and Education. 8: 1-34.
(1999) “Schubert Mass in E flat (cond. J. E. Gardiner), Gramophone Early Music ii”, Gramophone Early Music. ii: 111+.
(1999) “Buried Treasures”, BBC Music Magazine Schubert - His Life - His Work - His World. : 50-53.
(1999) “Haydn 'Nelson' Mass (cond. R. Hickox)”, Gramophone Early Music. ii: 107-108.
(1997) “Beethoven Symphonies 1 & 2, ed. Armin Raab, Beethovenhaus Werke I,i (Henle)”, Notes: quarterly journal of the music library association. 53: 560-562.
(1994) “String playing practices in the Classical orchestra”, Basler Jahrbuch für historische Musikpraxis. xvii: 41-64.
(1993) “Dots and strokes in late 18th- and 19th-century music”, Early Music. xxi: 593-610.
(1992) “Donald G.Henderson & Alice H.Henderson Carl Maria von Weber: a guide to research”, Music and Letters. 73: 465-466.
(1991) “Historical performance, metronome marks and tempo in Beethoven’s symphonies”, Early Music. XIX: 247-260.
The article considers recent recordings of Beethoven’s symphonies on period instruments and identifies a number of problematic issues with regard to tempo. The implications of Beethoven’s metronome marks are discussed. Several questionable marks are examined and alternative explanations proposed.
(1991) “Willibald Leo Frh. v. Lütgendorf ed. and rev. Thomas Drescher Die Geigen und Lautenmacher”, Music and Letters. 72: 93+.
(1991) “Elliott W.Galkin A History of Orchestral Conducting”, Journal of Musicological Research. 11: 139-141.
(1991) “Basil Smallman The Piano Trio: its History, Technique, and Repertoire”, Music and Letters. 72: 606-609.
(1991) “Andreas Ballstaedt & Tobias Widmaier: Salonmusik: zur Geschichte und Funktion einer bürgerlichen Musikpraxis”, Music and Letters. 72: 115-116.
(1990) “Joseph Haydn [Five recordings of Haydn Symphonies on period instruments]”, Early Music. xviii: 483-486.
(1988) “Bowing Styles, Vibrato and Portamento in Nineteenth-century Violin Playing”, Journal of the Royal Musical Association. cxiii: 97-128.
(1988) “Conducting Beethoven”, The Listener. cxx: 36-37.
(1988) “The Orchestra in Beethoven's Vienna”, Early Music. xvi: 4-20.
(1988) “Perspectives on Beethoven”, The Musical Times. : 548-452.
(1988) “Rudolf Elvers (ed.), Craig Tomlinson (trans.): Felix Mendelssohn: a Life in Letters”, Music and Letters. 69: 88-89.
(1988) “Folker Göthel: Thematisch-bibliographisches Verzeichnis der Werke von Louis Spohr”, Music and Letters. 69: 389-390.
(1988) “Marcia J.Citron (ed.& trans.): The Letters of Fanny Hensel to Felix Mendelssohn”, The Musical Times. cxxix: 187+.
(1987) “Robin Stowell Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries”, Music and Letters. 68: 68-69.
(1986) “Schubert's Fierrabras: an unknown masterpiece”, Opera. xxxvii: 130-133.
(1986) “Dorothy Veinus Hagan: Felicien David, 1810-1876: a Composer and a Cause”, Music and Letters. 67: 307+.
(1986) “Jon W. Finson & R. Larry Todd: Mendelssohn and Schumann: Essays on their Music and its Context”, Music and Letters. 67: 179-180.
(1985) “Anna Mischakoff: Khandoshkin and the beginning of Russian String Music 'Russian Music Studies', ix”, Music and Letters. 66: 385-386.
(1985) “Boris Schwarz Great Masters of the Violin”, Music and Letters. 66: 250+.
(1984) “Max Thöner (ed.): Louis Spohr, Neue Auswahl der Werke, viii”, Music and Letters. 65: 204-205.
(1984) “Spohr, Faust and Leitmotif”, The Musical Times. cxxv: 25-27.
(1984) “Teutonic Genius”, The Listener. cix: 36+.
(1980) “Spohr's Jessonda”, The Musical Times. cxxi: 94-97.
(2014) “Klang, Spieltechnik und Afführungspraxis von Kammermusik zur Zeit Beethovens”, In: Geiger F; Sichardt M (eds.) Beethovens Kammermusik. Laaber: Laaber-Verlag. 103-126
(2012) “Zum konzeptionellen Wandel von Notation und Aufführungspraxis in der klassischen und romantischen Epoche – Untersuchung und deutung des Quellenmaterials”, In: Hartinger A; Wolff C; Wollny P (eds.) Von Bach zu Mendelssohn und Schumann: Aufführungspraxis und Musiklandschaft zwischen Kontinuität und Wandel. Wiesbaden: Breitkopf & Härtel. 41-77
(2012) “Reading between the Lines: the Notation and Performance of Mozart’s Chamber Music with Keyboard”, In: Harlow M (eds.) Mozart’s Chamber Music with Keyboard. Cambridge: Cambridge University Press. 235-264
(2010) “Introduction”, In: Cowgill R; Cooper D; Brown C (eds.) Art and Ideology in European Opera. Boydell Press. 1-10
Essays highlight the interplay between opera, art and ideology across threecenturies.
(2010) “Mendelssohn’s Die Hochzeit des Camacho: An Unfulfilled Vision for German Opera”, In: Cowgill R; Cooper D; Brown C (eds.) Art and Ideology in European Opera. Woodbridge: Boydell Press. 40-66
(2010) “Polarities of virtuosity in the first half of the nineteenth century”, In: Barizza A; Morabito F (eds.) Nicolo Paganini Diabolus in Musica. Studies on Italian Music History. Turnhout: Brepols. 23-51
(2010) “Leopold Mozart’s Violinschule and the performance of W. A. Mozart’s violin music”, In: Steiner T (eds.) Cordes et claviers au temps de Mozart / Strings and Keyboard in the Age of Mozart. Lausanne: Peter Lang. pp. 23-49+
The paper considered how far Leopold Mozart’s Violinschule and other contemporaneous sources about mid- to late eighteenth-century string playing can tell us about Mozart’s expectations for the performance of his music. The thesis was advanced that modern so-called ’period’ performances fail to understand many of the implications of Mozart’s notation.
(2009) “Singing and String Playing in Comparison: Instructions for the Technical and Artistic Employment of Portamento and Vibrato in Charles de Bériot’s Méthode de violon”, In: Bacciagaluppi C; Brotbeck R; Gerhard A (eds.) Zwischen schöperischer Individualität und künstlerischer selbstverleugnung: zur musikalischen Aufführungspraxis im 19. Jahrhundert. Musikforschung der Hochschule der Kuenste Bern. Schliengen: Edition Argus. 83-108
(2008) “The Performance of Mendelssohn’s Chamber and Solo Music for Violin”, In: Reichwald S (eds.) Mendelssohn Performance Studies. Bloomington and Indianapolis: Indiana University Press. 59-84
Performing practice in Mendelssohn’s violin music
(2008) Performing Classical repertoire: the unbridgeable gulf between contemporary practice and historical reality.. Basler Jahrbuch für historische Musikpraxis XXX (2006). Winterthur: Amadeus Verlag. 31-44
(2008) Joachim’s Performance Style as reflected in his editions and other writings. Vienna,: Mille tre Verlag. 205-224
(2006) “The 19th-century Legacy of the Viotti School: Editions of the Violin Concerto No. 22”, In: Sala M (eds.) Giovanni Battista Viotti - A Composer Between the Two Revolutions. Ut Orpheus Edizioni. 157-198
Of Viotti's twenty-nine violin concertos, only the 22nd has a significant performance history in the twentieth century, and even in the nineteenth, the others soon became unfashionable. The reason for this is not clear, since the 22nd concerto is not measurably any greater than the others. The chapter tests the hypothesis that Joachim's estimation of the work accounts for its survival; it also establishes that the work had a substantial edited history in the nineteenth century. Many of the editors (e.g. Adolf Grunwald) edited the work for pedagogic purposes. The chapter reviews these editions in detail for the first time. The editions reveal the stylistic predilections of their authors, casting further light upon the inter-relationship of violinists within the same geographical/aesthetic 'school' (such as David, Grunwald and Joachim) as well as differences between schools/traditions(evidenced by comparisons of Joachim and Sauret editions, for example). The chapter seeks evidence for a survival of/reference to Viotti's own practices, and possible explanations for the work's sole survival as an example of Viotti's concerto repertoire by the tunr of the twentieth century.
(2004) “Nineteenth-century notation: appearance and meaning”, In: Cecchi P; Zoppelli L (eds.) Il Teatro di Donizetti. Bergamo: Fondazione Donizetti. 87-100
(2003) “Joseph Joachim and the performance of Brahms’s string music”, In: Musgrave M; Sherman B (eds.) Performing Brahms. Cambridge: CUP. 48-98
(2002) “‘Anton Eberl’, ‘Fanny Mendelssohn’, ‘Louis Spohr’, ‘Peter v. Winter’”, In: Latham A (eds.) The Oxford Companion to Music. Oxford: OUP.
(2002) “‘Bache’, ‘Balfe’, ‘Barnett J.’, ‘Barnett J. F.’, ‘Benedict’, ‘Bexfield’, ‘Bishop’, ‘Hatton’, ‘Havergall’, ‘Horn’, Horsley C. E.’, ‘Horsley W.’,‘Jackson’, ‘Joachim’, ‘Loder’, ‘Macfarren G. A.’, ‘Macfarren W. C.’ ‘Pearsall’, ‘Pierson’, ‘Pinto’, ‘Spohr’, ‘Wade’, ‘Wallace’”, In: The New Dictionary of National Biography. Oxford: OUP.
(2002) “‘Notation and Interpretation’”, In: Burton A (eds.) A Performer’s Guide to Music of the Romantic Period. London: ABRSM.
(2001) “‘Absetzen’, ‘Abstossen’, ‘Articulation marks’, ‘Aufheben’, ‘Dash’, ‘Leader’, ‘Lindpaintner’, ‘Ornaments §9: Late 18th century and the 19th and §10: 20th century’, ‘Poissl’, ‘Rode’ ‘Spohr’, ‘Staccato’ (with G. Chew)”, In: Sadie S (eds.) The New Grove Dictionary of Music and Musicians. London:
(1998) “The Chamber Music of Spohr and Weber”, In: Hefling SE (eds.) Nineteenth-century chamber music. Studies in Musical Genres and Repertoires. Schirmer.
The chamber music of Spohr and Weber is surveyed in detail, in the light of the musical context in which it was composed. Influences on and and from the music are discussed.
(1998) “Schubert's Tempo Conventions”, In: Newbould B (eds.) Schubert Studies. Aldershot: Ashgate. pp. 1-15+
(1997) “Weber and Spohr”, In: Holoman DK (eds.) The Nineteenth-century Symphony. Studies in Musical Genres and Repertories. Schirmer.
The symphonies of Weber and Spohr are copnsidered in their historical context. Influences on them are considered aas is their impact on the music of their own time.
(1994) “Ferdinand David’s editions of Beethoven”, In: Stowell R (eds.) Performing Beethoven. Cambridge Studies in Performance Practice. Cambridge University Press. 117-149
The article considers what David’s editions can tell us about the manner of performing Beethoven’s string music during the mid nineteenth century and examines how this may relate to what Beethoven might have envisaged.
(1994) “Spohr: Faust”, In: Dahlhaus C (eds.) Pipers Enzyklopädie des Musiktheaters. Munich and Zürich: Piper. pp. 756-758+
(1993) “'Cornelius' pp. 227-9, 'Eberl' pp. 303-4, 'Goldmark' pp. 390-1, 'Hiller' p. 475, 'Hummel' pp. 490-1, 'C. Kreutzer' pp. 545-6, 'F. Lachner' p. 550, 'I. Lachner' p. 550, 'Lindpaintner' pp. 571-2, 'Mendelssohn' pp. 645-7 'Meyerbeer', pp. 657-65, 'Poissl' pp. 785-6, 'Reissiger' p. 856, 'G. A. Schneider' p. 950, 'Schubert' pp. 962-7, 'Schumann' pp. 967-9, 'Spohr' pp. 1000-2, 'Weber' pp. 1210-16”, In: Amanda Holden NKASW; Holden A (eds.) The Viking Opera Guide. London: Penguin Books.
(1992) “'Abu Hassan' i, 7, 'Die beiden Pädagogen' i, 378-9, 'Die beiden Schützen' i, 379, 'Die drei Pintos' i, 1246, 'Euryanthe' ii, 88-90, 'Faust' ii, 130-1, 'Der Freischütz' ii, 296-9, 'Die Fürstin von Granada' ii, 317, 'Hans Sachs' ii, 643-4, 'Die Heimkehr aus der Fremde' ii, 686, 'Die Hochzeit von Camacho' ii, 728-9, 'Hummel' ii, 769 'Jessonda' ii, 895-6, 'Lindpaintner' ii 1282-3, 'Lobe' ii, 1299, 'Lortzing' iii, 48-51, 'Die lustigen Weiber von Windsor' iii, 99-100, 'Mendelssohn' iii, 329-31, 'Nicolai' iii, 595-6, 'Oberon' iii, 639-42, 'Peter Schmoll' iii, 982, 'Pietro von Abano' iii, 1010-11, 'Poissl' iii, 1041-2, 'Sechter' iv, 294, 'Silvana' iv, 378, 'Die Soldatenliebschaft' iv, 444, 'Spohr' iv, 479-81, 'Undine' iv 866, 'Der Vampyr' iv, 892, 'Der Waffenschmied' iv, 1052-3, 'Weber' iv, 1112-19, 'Der Wildschütz' iv, 1157-8, 'Zar und Zimmermann' iv, 1210-11,”, In: Sadie S (eds.) New Grove Dictionary of Opera. London: Macmillan.
(1992) “Performing Practice”, In: Millington B; Spencer S (eds.) Wagner in Performance. Yale University Press. 99-119
The chapter looks at how the performing practices of Wagner’s day may have been reflected in his music. It considers how the composer responded to the practices with which he was familiar.
(1984) “Spohrs Popularität in England”, In: Homburg and Reiner Krempien, H; Krempien R (eds.) Louis Spohr: Festschrift zum 200. Geburtstag. Kassel: Georg Wenderoth Verlag. pp. 105-116+
Neues Licht auf Mendelssohns Oper Die Hochzeit des Camacho.
“’Reading between the Lines: the Notation and Performance of Mozart’s Chamber Music with Keyboard’”, In: Harlow M (eds.) Mozart’s Chamber Music with Keyboard. Cambridge: Cambridge University Press. 235-264
(2013) Spohr’s quest for form and expression in sacred drama: his oratorios in their biographical context. Die Oratorien Louis Spohrs: Kontext – Text – Musik (Unpublished)
(2012) Changing sounds and techniques in early twentieth-century violin playing Stanford University, California, USA, Reactions to the Record III. Reactions to the Record III
(2009) Spohr’s Pietro von Abano. Simposio internazionale Terra, storia, etteratura e teatro musicale romantico Abano Terme, Italy:
(2009) Changing conceptions of musical notation and performance in the Classical and Romantic periods: investigating and interpreting the sources.. Vom Barock zur Romantik: Aufführungspraxis und Musiklandschaft im Umbruch
(2009) Polarities of virtuosity in the first half of the nineteenth century. Nicolò Paganini. Diabolus in Musica
(2009) New light on Die Hochzeit des Camacho. Mendelssohn Kongress
(2008) The Viennese Violin Sonata 1780-1820. in Rencontres harmoniques internationales de Lausanne Rencontres harmoniques internationales de Lausanne Conservatoire de Lausanne, Switzerland:
(2006) Treatises, editions and recordings as evidence of style and technique in nineteenth-century string playing. Proceedings: Internationales Symposium zur Interpretationspraxis fuer Saiteninstrumente im 19. Jahrhundert Bern:
This paper appraises the information about string playing that can be derived from nineteenth-century treatises and editions, and early twentieth-century recordings. Each of these resources offers a different perspective. Treatises provide valuable insights into the approaches of individual violinists and cellists who were also teachers; they contain copious information about specific techniques and practices, and occasionally show how these might apply to particular pieces of music. Editions that were fingered and bowed by such nineteenth-century editors as Ferdinand David, Delphin Alard, Joseph Joachim, J. J. Friedrich Dotzauer, and Friedrich Grützmacher convey a wealth of information about bowing and fingering in a musical context, sometimes with strong connections to particular composers or musical centres. This information is not, however, always susceptible of an unambiguous interpretation. Early recordings can partly supply a key to interpreting the written information, giving us a vivid, if frustratingly limited glimpse into the sound world nineteenth century musicians. They allow us to observe aspects of performance that would be almost or wholly unknowable from written evidence alone. By combining information from all three categories of source material it may be possible to attempt a more plausible and persuasive reconstruction of nineteenth-century playing style than has so far been achieved by professional practitioners of so-called authentic, period, or historically informed performance.
(2006) Leopold Mozart’s Violinschule and the performance of W. A. Mozart’s violin music. Rencontres Internationales Harmoniques de Lausanne Proceedings: Rencontres Internationales Harmoniques de Lausanne
The principles expounded in Leopold Mozart’s Violinschule will have formed the basis of W. A. Mozart’s training as a violinist, but it is questionable whether the Violinschule significantly helps us to understand his conception of violin playing. Although the Violinschule is exceptionally detailed for its time, essential aspects of performance (eg. the way the bow should be handled to execute different types of bow stroke) are not explained. Mozart’s development as a violinist is likely to have paralleled his development as a composer; he will have learned much from hearing violinists of differing schools and will undoubtedly have adopted and subsequently developed aspects of their styles that appealed to him. A range of evidence (Mozart’s letters, contemporaneous comparisons of violinists, L. Mozart’s and other late 18th-century treatises, slightly later accounts of changing practices) suggests that Mozart’s approach to violin playing may have been very different from the practices of modern period performers.
(2006) Leopold Mozart’s Violinschule and the performance of W. A. Mozart’s violin music. Rencontres harmoniques internationales de Lausanne
(2005) Gesang- und Streichertechnik im Vergleich. Zwischen “schöpferische Individualität” und “künstlerische Selbstverleugnung”: Zur musikalischen Aufführungspraxis im 19. Jahrhundert
The paper discussed the relationship between nineteenth-century singing and string playing, particularly in respect of vibrato and portamento. Much of the paper centred on Charles de Beriot’s Methode de Violon of 1858, illustrating his thesis that singing must be the model for string players. Parallels were also drawn with the practices of Baillot, Spohr, Joachim and other 19th-century violinists. Recorded extracts included Joachim and Adelina Patti.
(2002) Fidelity and Freedom in Nineteenth-Century Performance. Proceedings: Stimu Symposium: 19th-century Performance Practice (Utrecht Festival Oude Muziek) Stimu Symposium: 19th-century Performance Practice (Utrecht Festival Oude Muziek).
The paper examined the relationship between notation and performing practices in nineteenth-century music.
(2002) Herrmann Hirschbach and the Leipzig opposition to Mendelssohn. Proceedings: Biennial International Conference on Nineteenth-Century Music
The paper discussed reviews in a short-lived Leipzig journal, the Repertorium für Musik, which was edited by Hermmann Hirschbach. These reveal a hitherto unsuspectedly virulent Leipzig opposition to Mendelssohn during his lifetime.
(2002) Lecture Recital: Period instrument performance of Mendelssohn Piano Trio op. 49 and Brahms Piano Trio op. 101. Proceedings: Biennial International Conference on Nineteenth-Century Music Biennial International Conference on Nineteenth-Century Music.
The performance was introduced by me. I played violin, with Neal Peres Da Costa (piano) and Daniel Yeadon (cello).
(2002) Period instrument performance of Brahms Violin Sonata op. 78 with Neal Peres Da Costa (piano). Stimu Symposium: 19th-century Performance Practice Utrecht Festival Oude Muzie:
Performing practice in Brahms Violin Sonata op. 78
(2013) Performing Beethoven’s string quartets in the twenty-first century: received tradition and historical evidence. The Elias String Quartet; The Beethoven Project.
(2013) Physical parameters of 19th and early 20th-century violin playing. University of Leeds.
(2013) The decline of the 19th-century German school of violin playing. University of Leeds.
(2012) Bowing and Fingering Instructions in String Music during the 18th and Early 19th Centuries. University of Leeds.
(2012) The Evolution of Annotated String Editions. CHASE, University of Leeds.
Lampe: Margery, or a Worse Plague than the Dragon. 2 Dec. 2000
First modern performance of Lampe's opera, newly edited from original sources, with recitatives completed by Clive Brown
Franz Clement: Violin Concerto in D major (1805). Audio
Clive Brown performed as soloist in the first modern public performance of the concerto with the Leeds Philharmonia, Conducted by Eno Koco in the Great Hall of Leeds University on 23 November 2003. The performance was from Clive Brown’s critical edition (to be published by A-R Editions).
J.C. Bach: Amadis de Gaule. 1 Dec. 2000
(2013) Nineteenth-Century Performing Practice. Symposium on nineteenth-century performance. Zurich Hochschule der Künste:
(2010) The use of Vibrato, Portamento and Arpeggiation in late eighteenth and nineteenth-century Performance: a Stumbling Block for modern Musicians.. Berlin, Musikinstrumentenmuseum:
(2010) Nineteenth-century Violin Playing. Royal Northern College of Music Violin Festival:
(2009) Performing Nineteenth-century Music. Copenhagen Royal Academy of Music:
(2009) Lecture and masterclasses (for orchestral performance of Haydn overture ‘L’anima del filosofo’, Concertante for violin, cello, oboe and bassoon, Symphony no. 103). Schola Cantorum Basiliensis, Basel, Switzerland.:
(2008) Notation and interpretation in 19th-century performance. Norwegian Academy of Music, Oslo:
(2001) The orchestra as instrument. BBC Radio 3: BBC.
(2001) Queen Victoria’s Love of Music. BBC Radio 3: BBC.
The broadcast used queen Victoria’s diaries and other sources, to examine her attitude to the music of her own day.
Book launch and broadcast for German edition of Louis Spohr eine kritische Biographie, Kassel.
Lecture and masterclasses: Leipzig, Hochschule für Musik Felix Mendelssohn Bartholdy. Leipzig, Hochschule für Musik Felix Mendelssohn Bartholdy:
Lecture and Masterclasses, Hochschule für Musik Karlsruhe, Germany. Hochschule für Musik Karlsruhe, Germany:
Brahms, Sonatas for Violin and Piano, Sonatas for Cello and Piano, Sonatas for Clarinet/Viola and Piano, Bärenreiter (with Neal Peres Da Costa and Kate Haynes).
Maria Rosa Moretti & Anna Sorrento (ed.) Catalogo thematico delle musiche di Niccolò Paganini. Genoa:: 88+.
Lectures and masterclasses: Muikeon, Valencia. Muikeon, Valencia:
Brussels Royal Conservatoire of Music, Belgium, Lectures.
“Lewis Lockwood and Mark Kroll eds. The Beethoven Violin Sonatas: History, Criticism, Performance (Urbana and Chicago, University of Illinois Press, 2004)”, Early Music. 34: 303-304.
Haydn Symphonies Nos 53, 54, 61, 66, 67, 68, 69 (cond. C. Hogwood), Gramophone Early Music iii. : 90-91.
Haydn ‘Harmoniemesse’ (cond. N. Harnoncourt), Gramophone Early Music iii. : 89-90.
Sydney Conservatorium of Music, Sydney University, Australia (Lectures and workshops).
Research Projects & Grants
- British Academy ‘Thanks Offering to Britain’ Research Fellow 1985-7
- Leverhulme Research Grant for work on historical performing practice 1987-8
- AHRB Research Leave Grant 2003-4
- AHRC Annotated Editions Project (2008-12) CHASE chase.leeds.ac.uk
Research Centres & Groups
Director: Leeds University Centre for Historically-Informed Performance (LUCHIP)
Member: Leeds University Centre for English Music (LUCEM)
Member: Leeds University Centre for Opera Studies (LUCOS)
- Member of editorial board of Ad Parnassum, Performance Practice Review, Early Music Performer.
- Member of CHARM (AHRC Research Centre) International Advisory Panel
PhD & Postdoctoral Supervision
Past Research Students Include:
- Neal Peres Da Costa: Performing Practices in Late-Nineteenth-Century Piano Playing : implications of the relationship between written texts and early recordings (2001). Published as Off the Record (OUP, 2012)
- David Milsom: Theory and Practice in Late-Nineteenth Century Violin Performance, 1850 – 1900 (2001). Published as Theory and Practice in Late-Nineteenth Century Violin Performance (Ashgate, 2003)
- Heng-Ching Fang: The twentieth-century revolution in string playing as reflected in the changing performing practices of viola players from Joseph Joachim to the present day: a practice-based study. (2008)
- Ilias Devetzoglou: Violin Playing in France 1870-1930 : a Practice-Based Study of Performing Practices in French Violin Music from Faure to Ravel (2009)
- George Kennaway: Cello techniques and performing practices in the nineteenth and early twentieth centuries (2009)
- Martin Pickard: J. N. Poissl and the Early 19th-Century Quest for a Typically German Opera (2012)
- Peter Collyer ‘Leipzig School’ editors and editions of string music c.1840-1930 : violin playing style in the printed output of Ferdinand David and his associates(2012)
- Yvonne Amthor: Musical Prodigies in late 18th- and early 19th-Century European Concert Life (2013)
- Sarah Potter: Changing Vocal Style and Technique in Britain, 1750-1900 (The Role of the Singer in Historically Informed Performance)
- Miaoyin Qu: Piano playing in the German tradition 1840-1900
- Hannah French: Sir Henry Wood’s Bach.
- Kate Haynes: Performing traditions in 19th-century German Cello Playing.
- Jung Yoon Cho: 19th-century German violin works: practice-led research on German performing traditions 1850-1920 and their re-interpretations within modern performing context.
- Masumi Nagasawa: The single-action harp and its repertoire.
The Popularity and Influence of Spohr in England (Oxford, 1980)
Performances of Classical and Romantic chamber music as a member of the Ferdinand David Ensemble (formerly the LUCHIP Ensemble)