From Stage to Studio
Performances versus Recordings in Classical Music
Seiten
2025
Routledge (Verlag)
978-0-367-48575-7 (ISBN)
Routledge (Verlag)
978-0-367-48575-7 (ISBN)
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From Stage to Studio: Performances versus Recordings in Classical Music presents a cultural study of classical music-making through the analysis of live and studio performances of orchestral and operatic repertoire conducted by Sir Charles Mackerras.
The close listening analysis is based on detailed research into Mackerras’s private collection of over 600 reel-to-reel and cassette tapes containing recordings of over 1,000 live performances which he conducted between the 1950s and the late 1990s. This is contextualized with evidence collected during ethnographic fieldwork observations, presenting the opinions of Sir Charles, orchestral musicians from major London orchestras and opera houses with whom he was working (Philharmonia, Orchestra of the Age of Enlightenment, Royal Opera House, English National Opera), and production team members working for recording industry leaders (such as Decca, EMI, and Chandos). This ethnography of classical music-making gives a voice to performers and music professionals, brings to light some important and heretofore hidden issues and explores a fascinating time of intense change in the recording industry.
Including consideration of ways forward for performance, education, and recording, this book will be relevant to specialist practitioners, as well as music enthusiasts interested in concert life and recording studio habits, professional performers, recordists, music students, educators, and scholars interested in classical music.
The close listening analysis is based on detailed research into Mackerras’s private collection of over 600 reel-to-reel and cassette tapes containing recordings of over 1,000 live performances which he conducted between the 1950s and the late 1990s. This is contextualized with evidence collected during ethnographic fieldwork observations, presenting the opinions of Sir Charles, orchestral musicians from major London orchestras and opera houses with whom he was working (Philharmonia, Orchestra of the Age of Enlightenment, Royal Opera House, English National Opera), and production team members working for recording industry leaders (such as Decca, EMI, and Chandos). This ethnography of classical music-making gives a voice to performers and music professionals, brings to light some important and heretofore hidden issues and explores a fascinating time of intense change in the recording industry.
Including consideration of ways forward for performance, education, and recording, this book will be relevant to specialist practitioners, as well as music enthusiasts interested in concert life and recording studio habits, professional performers, recordists, music students, educators, and scholars interested in classical music.
Amy Blier-Carruthers is Doctoral Programme Leader at the Guildhall School of Music and Drama, Lecturer in Music Performance (Education) at King’s College London, and Research Fellow at the Royal Academy of Music.
Acknowledgements
Table of Contents
Table of Figures
Table of Appendices
CHAPTER 1 From stage to studio
CHAPTER 2 Live performance versus studio recording
CHAPTER 3 In the studio
CHAPTER 4 On the stage
CHAPTER 5 Variable Performance Traits
CHAPTER 6
CHAPTER 7 Final edit – Towards an aesthetic emancipation and some proposed ways forward
Appendices
Bibliography
| Erscheint lt. Verlag | 14.3.2025 |
|---|---|
| Reihe/Serie | Routledge Research in Music |
| Zusatzinfo | 18 Tables, black and white; 2 Line drawings, black and white; 2 Illustrations, black and white |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 156 x 234 mm |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Klassik / Oper / Musical |
| Mathematik / Informatik ► Informatik | |
| Sozialwissenschaften | |
| ISBN-10 | 0-367-48575-3 / 0367485753 |
| ISBN-13 | 978-0-367-48575-7 / 9780367485757 |
| Zustand | Neuware |
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