Instructive editions of J. S. Bach’s “Wohltemperirtes Klavier”: an Italian perspective

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/20270 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/20270 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/20270 archive 4031 disk0/00/00/33/57 2012-06-14 09:03:55 2019-01-23 09:56:06 2012-06-14 09:03:55 thesis show 0 Bertoglio Chiara Hamilton Kenneth 1963- University of Birmingham Instructive editions of J. S. Bach’s “Wohltemperirtes Klavier”: an Italian perspective unpub M1 10col_artl This thesis defines the theoretical, sociological, historical, cultural and practical framework of “instructive editions” (IEs). The approach adopted evaluates, for the first time, the most significant discussions found in previous literature, realising a comprehensive overview of the issues involved. The principles expounded in the theoretical chapters are verified in practice through application to the specific case of Bach’s WTK and its role in Italy: here, in particular, the thesis dissects the “myth” of Thalberg’s edition and introduces a hitherto overlooked edition by Lanza. Careful comparison of a sample of Italian IEs identifies “genealogies” in performance traditions and their correspondence with the aesthetic trends of their era: the presence of an “Italian” attitude to Bach’s WTK, inspired by prevailing neo-Idealistic values, is shown in the coexistence of a sentimentalist approach with the fascination for structural objectivism. It is demonstrated that musicological studies in aesthetics, performance practice and the history of reception benefit from the analysis of IEs, and from their comparison with other written and recorded documents of performance: IEs are a vehicle for both preserving and transmitting interpretive aesthetics. 2012-07 2012-01 graduation eng This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ubira@lists.bham.ac.uk public 467 University of Birmingham School of Languages, Cultures, Art History and Music, Department of Music d_ph na 2012-07 graduation