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EDITORIAL
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| Zeitschriftentitel: | Eighteenth Century Music |
|---|---|
| Personen und Körperschaften: | |
| In: | Eighteenth Century Music, 15, 2018, 1, S. 5-8 |
| Format: | E-Article |
| Sprache: | Englisch |
| veröffentlicht: |
Cambridge University Press (CUP)
|
| Schlagwörter: |
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BIONDI, FABIO BIONDI, FABIO |
|---|---|
| author |
BIONDI, FABIO |
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BIONDI, FABIO Eighteenth Century Music EDITORIAL Music Music |
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BIONDI, FABIO 1478-5706 1478-5714 Cambridge University Press (CUP) Music Music http://dx.doi.org/10.1017/s1478570617000367 <jats:p>The revival of early music performed on original instruments has resurrected the role of the violinist-conductor ‘maestro dei concerti’, one historical designation among many describing a conductor equipped with an instrument rather than a baton. Prior to this revival, one rarely saw an orchestra led without a baton, particularly if the orchestra was sizeable. Exceptions included a few historically minded ensembles – here I'd like to mention I Musici of Rome for the baroque repertory and, for a case involving a large symphonic orchestra, the Vienna Philharmonic's 1996 New Year's Eve Concert, at which Lorin Maazel directed one of the popular Strauss encores from the violin. Yet the idea of having a violinist conduct a romantic symphony, let alone a nineteenth-century opera, seems hardly conceivable today. Such a lost practice, though common in the past, would be bound to baffle modern audiences.</jats:p> EDITORIAL Eighteenth Century Music |
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Cambridge University Press (CUP), 2018 |
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Cambridge University Press (CUP), 2018 |
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editorial |
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Music Music |
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http://dx.doi.org/10.1017/s1478570617000367 |
| publishDate |
2018 |
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5-8 |
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<jats:p>The revival of early music performed on original instruments has resurrected the role of the violinist-conductor ‘maestro dei concerti’, one historical designation among many describing a conductor equipped with an instrument rather than a baton. Prior to this revival, one rarely saw an orchestra led without a baton, particularly if the orchestra was sizeable. Exceptions included a few historically minded ensembles – here I'd like to mention I Musici of Rome for the baroque repertory and, for a case involving a large symphonic orchestra, the Vienna Philharmonic's 1996 New Year's Eve Concert, at which Lorin Maazel directed one of the popular Strauss encores from the violin. Yet the idea of having a violinist conduct a romantic symphony, let alone a nineteenth-century opera, seems hardly conceivable today. Such a lost practice, though common in the past, would be bound to baffle modern audiences.</jats:p> |
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| description | <jats:p>The revival of early music performed on original instruments has resurrected the role of the violinist-conductor ‘maestro dei concerti’, one historical designation among many describing a conductor equipped with an instrument rather than a baton. Prior to this revival, one rarely saw an orchestra led without a baton, particularly if the orchestra was sizeable. Exceptions included a few historically minded ensembles – here I'd like to mention I Musici of Rome for the baroque repertory and, for a case involving a large symphonic orchestra, the Vienna Philharmonic's 1996 New Year's Eve Concert, at which Lorin Maazel directed one of the popular Strauss encores from the violin. Yet the idea of having a violinist conduct a romantic symphony, let alone a nineteenth-century opera, seems hardly conceivable today. Such a lost practice, though common in the past, would be bound to baffle modern audiences.</jats:p> |
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| imprint | Cambridge University Press (CUP), 2018 |
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| spelling | BIONDI, FABIO 1478-5706 1478-5714 Cambridge University Press (CUP) Music Music http://dx.doi.org/10.1017/s1478570617000367 <jats:p>The revival of early music performed on original instruments has resurrected the role of the violinist-conductor ‘maestro dei concerti’, one historical designation among many describing a conductor equipped with an instrument rather than a baton. Prior to this revival, one rarely saw an orchestra led without a baton, particularly if the orchestra was sizeable. Exceptions included a few historically minded ensembles – here I'd like to mention I Musici of Rome for the baroque repertory and, for a case involving a large symphonic orchestra, the Vienna Philharmonic's 1996 New Year's Eve Concert, at which Lorin Maazel directed one of the popular Strauss encores from the violin. Yet the idea of having a violinist conduct a romantic symphony, let alone a nineteenth-century opera, seems hardly conceivable today. Such a lost practice, though common in the past, would be bound to baffle modern audiences.</jats:p> EDITORIAL Eighteenth Century Music |
| spellingShingle | BIONDI, FABIO, Eighteenth Century Music, EDITORIAL, Music, Music |
| title | EDITORIAL |
| title_full | EDITORIAL |
| title_fullStr | EDITORIAL |
| title_full_unstemmed | EDITORIAL |
| title_short | EDITORIAL |
| title_sort | editorial |
| title_unstemmed | EDITORIAL |
| topic | Music, Music |
| url | http://dx.doi.org/10.1017/s1478570617000367 |