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Evaluating Sprechstimme – what early recordings tell us
Evaluating Sprechstimme – what early recordings tell us
Before writing my new chapter on Pierrot, I am thinking about its general structure. Things will probably change as I start writing, yet this helps me orgenize in my mind all that I have done in the past few weeks in the British Library. If you have any comments or ideas, please write to me. Here are the various sections of the chapter:
- Reviewing Bryn-Julson’s argument (2009) for exact pitch.
- Put forward my argument for “liberal informed” interpretations.
- Explain why it is useful to examine early recordings.
- Present the early recordings, the singers and conductors.
- Write about the reviews of these early recordings.
- Show what they actually do in these early recordings – especially how they do Sprechstimme but also balance of ensemble, and relation of all this to score. Focus on the song Parodie (explain why).
- Criteria (apart for pitch fidelity) for evaluating Sprechstimme Interpretations: structure, text, improvisation, voice limits, what else?
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