Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. Preface ix
5. Introduction
6. 1 Composers’ Intentions, Performers’ Responsibilities 1
7. Vocal Scoring
8. 2 A Brief Anatomy of Choirs 16
9. 3 Falsetto Beliefs: The ‘Countertenor’ Cross-Examined 46
10. 4 Falsetto and the French: ‘Une toute autre marche’ 122
11. Monteverdi
12. 5 Transposition in Monteverdi’s Vespers of 1610 146
13. 6 Monteverdi’s Vespers of 1610 Revisited 194
14. 7 Monteverdi: Onwards and Downwards 205
15. 8 High Clefs and Down-to-Earth Transposition: A Brief Defence of Monteverdi 228
16. Purcell
17. 9 Performing Purcell 237
18. J. S. Bach
19. 10 How Many Singers? 287
20. 11 Vocal Ripienists and J. S. Bach’s Mass in B minor 290
21. 12 Bach’s Chorus: The Leipzig Line 328
22. Missing Music
23. 13 J. S. Bach’s Trauer-Music for Prince Leopold: Clarification and Reconstruction 347
24. Miscellaneous
25. 14 Performing Machaut’s Mass on Record 361
26. 15 ‘Grett and solompne singing’: Instruments in English Church Music before the Civil War 368
27. 16 Monteverdi’s L’ Orfeo 381
28. 17 Purcell’s Dido & Aeneas on Record 385
29. 18 ‘Hail! bright Cecilia’ (Purcell at 350) 391
30. Selected Recordings 397
31. Further Writings 398
32. Index 399