Performers’ Voices Across Centuries and Cultures, edited by Anne Marshman

London: Imperial College Press, 2011.

Chapter 1. Where Things Stand Now – Richard Taruskin

^{1.1 J.S. Bach, Brandenburg Concerto no. 5, BWV 1050, first movement, keyboard cadenza to the end of the movement, performed by Wilhelm Furtwängler and the Vienna Philharmonic Orchestra. Reproduced by permission of EMI  Classics (EMI Classics CMS5 67422 2).}

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^{1.2 J.S. Bach, Brandenburg Concerto no. 5, BWV 1050, first movement, keyboard cadenza to the end of the movement, performed by Kenneth Cooper and the Berkshire Bach Ensemble. Reproduced by permission of Kenneth Cooper and the Berkshire Bach Society (Berkshire Bach Society BS 2002).}

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Chapter 5. Explorations around Bass Parts and Key Schemes: Recording the Cantatas of Alessandro Scarlatti – Rosalind Halton

^{Online Examples 5.1–5.11 feature excerpts from ‘Venere, Adone e Amore: Cantatas and Serenatas of Alessandro Scarlatti (ABC Classics), performed by Rosalind Halton (dir./harpsichord ) and Chacona: Jane Edwards (soprano), Vivien Hamilton (soprano), Miriam Allan (soprano), James Sanderson  (countertenor), Lucinda Moon (violin I), Stephen Freeman (violin II), Jamie Hey (violoncello), Rosemary Webber (violone), Tommie Andersson (lute, theorbo, baroque guitar). Reproduced by permission of ABC Classics (ABC Classics 476 6170).}

^{5.1 A. Scarlatti, Sinfonia, Hor che di Febo ascosi (Now that the splendid rays of Phoebus). Violins I and II, violoncello, violone (16 foot), theorbo. [0-1:52]}

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^{5.2 A. Scarlatti, Del Tirreno sul lido (On the shore of the Tyrrhenian Sea), 1697, Cantata for alto and basso continuo, Aria I, Della bella il sospirare (The sighing of the fair lady), Adagio. Violoncello, theorbo, Italian harpsichord. James Sanderson, countertenor.  [0-1:14]}

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^{5.3 A. Scarlatti, Del Tirreno sul lido, Aria II, Venere bella, non lagrimar (Beautiful Venus, leave your weeping), Allegro. Violoncello, baroque guitar, harpsichord. James Sanderson, countertenor.}

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^{5.4 A. Scarlatti, Silenzio, aure volanti (Be silent, fleeting breezes), ca. 1690-1695, Cantata for soprano solo and violins, Introduzione. Violins I and II, violone at eight foot, theorbo. Vivien Hamilton, soprano. [0-1:21]}

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^{5.5 A. Scarlatti, Silenzio, aure volanti, Aria III, Piangerò forse chi sà (I will weep), Largo. Violins I and II, violone, seven-course renaissance lute. Vivien Hamilton, soprano.}

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^{5.6 A. Scarlatti, Silenzio, aure volanti [arioso], Si placa una crudel (A cruel woman is appeased by death alone). Violins I and II, bass played by violone eight foot until final bars, then 16 foot, theorbo. Miriam Allan, soprano.}

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^{5.7 A. Scarlatti, Hor che di Febo ascosi, Serenata for solo soprano and two violins, Aria II, Sì, sì, non dormite (Yes, yes, sleep not). Violoncello and harpsichord. Jane Edwards, soprano.}

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^{5.8 A. Scarlatti, Hor che di Febo ascosi, Recitativo [Arioso], Quindi da vostri sguardi/gode (However, your glances). Violone (eight foot pitch) and theorbo. Jane Edwards, soprano.}

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^{5.9 A. Scarlatti, Hor che di Febo ascosi, Aria IV, Dormite, posate. (Sleep, rest). Violoncello, violone (16 foot), theorbo. Jane Edwards, soprano.}

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^{5.10 A. Scarlatti, Cantata Pastorale, 1716, for solo voice and two violins, Aria I, Che sarà? Chi a me lo dice? (What will happen? Who will tell me?), E major. Violins unisoni, violoncello, harpsichord. James Sanderson, countertenor. [0-3:15]}

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^{5.11 A. Scarlatti, Aria Pastorale, Aria II, Nacque, col Gran Messia, la pace (With the great Messiah, peace was born). F major. Violins I and II, violoncello, violone (E string tuned to F, playing improvised drone part at 16 foot), theorbo. Miriam Allan, soprano. [0-5:10]}

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Chapter 6. Marimba Plays Early Music: An Approach Informed by Historical Performance Practice – Tomoyo Ueda

^{Online Examples 6.1-6.19 are performed by Tomoyo Ueda (marimba) and Masumi Yamamoto (harpsichord) and recorded by Xiaodong Zhou in the Yong Siew Toh Conservatory of Music, National University of Singapore recording studio.}

^{6.1 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, first movement, bars 25-26.}

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^{6.2 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, first movement, bars 25-26.}

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^{6.3 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, first movement, bars 25-26.}

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^{6.4 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, first movement, bars 1-2.}

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^{6.5 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, first movement, bars 1-2.}

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^{6.6 J.S. Bach, Suite for Solo Violoncello no. 1 in G major, BWV 1007, Allemande, bars 1-3.}

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^{6.7 J.S. Bach, Suite for Solo Violoncello no. 1 in G major, BWV 1007, Allemande, bars 1-3.}

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^{6.8 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, second movement, bars 26-31.}

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^{6.9 J.S. Bach, Suite for Solo Violoncello no. 1 in G major, BWV 1007, Sarabande, bars 1-4.}

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^{6.10 J.S. Bach, Suite for Solo Violoncello no. 1 in G major, BWV 1007, Sarabande, bars 1-4.}

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^{6.11 J.S. Bach, Suite for Solo Violoncello no. 1 in G major, BWV 1007, Sarabande, bars 9-11.}

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^{6.12 J.S. Bach, Suite for Solo Violoncello no. 1 in G major, BWV 1007, Sarabande, bars 13-16.}

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^{6.13 J.S. Bach, Suite for Solo Violoncello no. 1 in G major, BWV 1007, Sarabande, bars 13-16.}

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^{6.14 J.S. Bach, Suite for Solo Violoncello no. 1 in G major, BWV 1007, Menuet II, bars 1-8 (with repeat).}

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^{6.15 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, fifth movement, bars 1-5.}

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^{6.16 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, fourth movement, bars 14-20.}

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^{6.17 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, fourth movement, bars 14-20.}

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^{6.18 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, first movement, bars 33-35.}

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^{6.19 A. Corelli, Sonata for Violin and Cembalo or Violone in D major, op. 5, no. 1, fifth movement, bars 18-26.}

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Chapter 7. A Philosophy of the Performer’s Voice and Its Performance in Works by Mozart and Stravinsky – Anne Marshman

^{7.1 W.A. Mozart, Clarinet Quintet in A major, K581, Menuetto (third movement), opening bars, performed by Sabine Meyer and members of the Vienna String Sextet. Reproduced by permission of EMI Classics (EMI Classics, 7243 5 676484 2 8).}

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^{7.2 W.A. Mozart, Clarinet Quintet in A major, K581, Trio II (third movement), opening bars, performed by Sabine Meyer and members of the Vienna String Sextet. Reproduced by permission of EMI Classics (EMI Classics, 7243 5 676484 2 8).}

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^{7.3 W.A. Mozart, Clarinet Quintet in A major, K581, Trio II (third movement), opening bars, performed by Marcel Luxen and the Danis Quartet. Reproduced by permission of Marcel Luxen and the Danis Quartet.}

^{7.4 I. Stravinsky, Three Pieces for solo clarinet, Piece III, bars 1-13, performed by Marcel Luxen. Reproduced by permission of Marcel Luxen.}

^{7.5 I. Stravinsky, Three Pieces for solo clarinet, Piece III, bars 35-52, performed by Marcel Luxen. Reproduced by permission of Marcel Luxen.}

^{7.6 I. Stravinsky, Three Pieces for solo clarinet, Piece III, bars 1-13, performed by Marcel Luxen. Reproduced by permission of Marcel Luxen.}

^{7.7 I. Stravinsky, Three Pieces for solo clarinet, Piece III, bars 35-52, performed by Marcel Luxen. Reproduced by permission of Marcel Luxen.}

Chapter 11. From Fortepiano to Modern Piano: A Case Study of a Performer-Composer Collaboration – Helena Marinho and Sara Carvalho

^{11.1 S. Carvalho, Postlude, Still in Fugue, performed by Helena Marinho.}

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Chapter 12. Kung Fu Fan Turns Master: Eagle Claw Wu Tsiao Chen Wins – Aiyun Huang and Sean Griffin

^{12.1 Sean Griffin, Tension Study II: Eagle Claw Wu Tsiao Chen Wins, performed by Aiyun Huang. Reproduced by permission of the Experimental Media and Performing Arts Center, New York.}