Sound recordings

La Sonata para flauta y piano de Francis Poulenc es parte del repertorio indispensable para todo flautista, es una de las obras fundamentales, gracias a su virtuosismo en cuanto a articulaciones, dinamicas y fraseos. Una de las caracteristicas principales es el juego que tiene con los tempos en el primer movimiento. Consideramos interesante analizar el primer movimiento de esta obra debido a la forma en que los diferentes interpretes llevan el tempo sin alterar el fraseo. Realizamos un estudio minucioso de la secuencia de cambios en el tempo para que el flautista, o personas interesadas, puedan disfrutar mas al momento de escuchar, analizar y trabajar, si es el caso, para una mejor interpretacion, basandonos no solamente en lo que el compositor pide, sino agregando informacion valiosa que estos interpretes pudieron aportar a esta importante obra. Para esto hemos estudiado a cuatro interpretes mediante sus grabaciones comerciales, es importante mencionar que dos de estas grabaciones ...

Though it operates on the margins of the Norwegian folk music scene, the munnharpe (jew’s harp) revival has been active since the 1960s and today boasts an active network of festivals, musicians, and blacksmiths. After contextualising the instrument’s position within Norwegian folk music and outlining the history of the munnharpe community, I explore the transmission and revitalisation of the munnharpe tradition, suggesting that a large part of the revival’s success lies in the availability and accessibility of archival recordings. I examine the transmission of playing technique and repertoire amongst musicians, then compare it with instrument building transmission amongst blacksmiths, analysing how the dynamic between munnharpe players and makers has shaped the instrument’s musical and material spheres. Tracing the symbiotic relationship between archives, recordings, players, and makers, I argue that this interplay has been central to the revival in both its past and present iterations.

This paper focuses on how I collect and curate sound recordings, particularly the 78rpm shellac format. It deals with the motivating forces behind why I collect sound recordings and how I situate them in their appropriate historical context - through curated exhibitions, blog writing and reissue projects. I touch upon curating methodology involving sound and how the reissue "package" can function as a physical site in a similar way to an exhibition space. I also draw attention to the importance of sound recordings as an active, living history in an Australian context, and why we should do more to share and disseminate them.

In 2004, Icelandic singer-songwriter Björk (b. 1965) released her fifth solo album Medúlla, made almost exclusively with human voices. After outlining what I have termed ‘the elastic self’, which recognises both personal and external agency, this dissertation first examines how Björk uses technologies of the studio, using Actor Network Theory. Often mechanical manipulation is an attempt to depict powerlessness, whilst her employment of beatboxers’ interplay with technology is to express the body. . I will explore how Björk conceptualised and conceived Medúlla (2004), an album made almost entirely from human voicesI then perform an organicist motivic analysis of the album, studying motives used in different songs and links made across the musical foreground and background and the resulting unity. Through the concept of the rhizome and Actor Network Theory, I expand my analysis of motivic unity outside of the album, suggesting that the album can also be read as a network or as ‘elastic’. This study will attempt to understand how Björk’s idea of the self and body were transferred to the musical work.

The management and exploitation of copyrighted material in the form of musical works and sound recordings through the mechanism of collecting societies is a convenient structure that facilitates the utilisation of these works by potential users upon payment of adequate compensation to the owners and rights-holders on mutually agreed terms. In Nigeria, the adoption and application of this mechanism remains a work in progress both in terms of the legal framework for its actualization and the regulatory oversight required to ensure that a convenient tool designed to ameliorate the logistical and other challenges encountered by owners and users of musical works and sound recordings is not elevated to a pedestal that contradicts the rationale and economic justification for such a mechanism. Some vexing issues applicable to the objectives and functions of collecting societies in Nigeria are examined closely in this paper through the lens of the recent decision of the Federal High Court sitting in Lagos, in the case of Copyright Society of Nigeria v MTN Nigeria Communications Limited. The paper argues inter alia that proper care and attention through regular monitoring and supervision is required to ensure that the objectives for licensing collecting societies are not negated by extraneous factors.

Cortot’s piano playing offers many opportunities to consider the relationship between sound, meaning, emotion, calculation, personality, society, and music. The key evidence at the heart of these interrelationships can be found in a detailed analysis of data describing timing and loudness in his recorded performances. A study of his 1926 and (recently rediscovered) 1928 recordings of Chopin Preludes, viewed through Sonic Visualiser software (www.sonicvisualiser.org), is used as a focus for a discussion of Cortot’s mythical expressive spontaneity.

Liner notes for Great Pianists: Artur Schnabel - Beethoven Sonata Society Recordings (1932-1935), an eleven-CD set of recordings released on the Naxos Historical Label (2003-2006). Remastered by Mark Obert-Thorn. The notes provide a reception history of the recordings, drawing on reviews as well as biographical and autobiographical works. Naxos recording numbers: 8.110671, 8.110694, 8.110695, 8.110756, 8.110759, 8.110760, 8.110761, 8.110762, 8.110763, 8.110764, 8.110765

How to cite: Syroyid Syroyid, B. (2021). In Search of the Vocal in a Piano Performance: A Musical Analysis of Tempo Oscillations in Early Recordings of Franz Liszt’s Liebestraum No. 3, S.541 by Sauer, Rosenthal and Lamond. In E. Moreda Rodríguez & I. Stanović (Coord.) Early Recordings: Diversity in Practice. Rethinking Early Recordings. University of Glasgow & University of Huddersfield.

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The Nocturne No. 3 in A-flat major, S.541 also known as Liebestraum No. 3 (German for Dream of Love) is one of the most popular piano pieces by Franz Liszt (1811–1886). Although this piece was published in 1850, the original version was written for soprano and piano, five years earlier, by setting music to a poem by Ferdinand Freiligrath “O lieb, so lang du lieben kannst” (German for Oh love as long as you can love). The present paper presents a comparative analysis of three recordings by Liszt’s pupils: a ca. 1925 recording by Emil von Sauer (1862-1942); a 1929-30 recording by Moriz Rosenthal (1862-1946); and a 1936 recording by Frederic Lamond (1868-1948). An analysis of the pulse durations was conducted in Sonic Visualiser, revealing a wide range of tempo oscillations linked to the expressivity of the performance. In spite of sharing some common features, these recordings display a number of individual characteristics that set them apart. In this paper, tempo oscillations are contextualised by means of a musical analysis that is focused on the processes of tension and repose. At the same time, certain tempo oscillations reveal a vocal quality that could be connected to the earlier version of the piece as a song and its treatment of the lyrics. It is hoped that the conclusions of this analysis may provide some insights on the piano performance practice in the Interwar period, as well as deepening our understanding of the pianism of Sauer, Rosenthal and Lamond.

Work dynamics that characterize music production have been profoundly affected by the incursion of digital audio. The multiple possibilities of audio manipulation currently offered by DAW (Digital Audio Workstation) software on the one hand, make it possible to 'make up' inaccuracies and mistakes by solving the performer's shortcomings, but on the other, offer the possibility of 'molding' the interpretation, thus acquiring an indisputable protagonism within it: in this technological context, audio edition and musical interpretation suppose two activities closely related. Langford (2014) distinguishes three editing methods that are clearly differentiated according to their purpose: corrective, creative, and restorative. For the author, the usual corrective tasks include cutting, copying, pasting, and comping, while the most common creative tasks include time-stretching and pitch manipulation. But some of the tasks that are usually associated with a 'corrective' edition have, as we will try to demonstrate through this research, a clear artistic intentionality, enabling the deconstruction of the original rhythmic or melodic motif and generating new texts.

RECORDINGS OF THE KALISZ LAND REGALE OF FOLKLORE (1996)
AS AN EXAMPLE OF A MODERN FOLKLORE DOCUMENTATION
IN THE SCENIC CONTEXT

The article is dedicated to archival recordings from the Kalisz Land Regale of Folklore
made in 1996. The recordings represent an example of a modern folklore documentation in the scenic context. The collection of 12 tapes was digitised and edited in 2016 within the framework of the second phase of the project entitled Polish traditional music  - a phonographic heritage, carried out by the Phonographic Collection of the Institute of Art of Polish Academy of Sciences. The present text can be considered as the trigger for characterising changes that took place, and still do so, in the area of traditional music due to developing cultural-political conditions. Historical and contemporary Kalisz folklore documentation (including newly coming up music publishers) has been described in the article along with the performing context which a kind of festival-contest Kalisz Land Regale of Folklore is. Apart from this, there has been presented a general characteristic of singing groups and bands, such as „Doruchowianie”, „Potarzyczanki” and Kapela „Snutki” („Snutki” Band), Zespół Pieśni i Tańca „Tursko” („Tursko” Song and Dance Ensemble), Kapela Ludowa „Brzeziny” („Brzeziny” Folk Band). Key persons for the region of Kalisz and the development of specific bands (Leon Lewandowski, Józef Marciniak, Bronisław Bazelak and Antoni Chabierski) have also been mentioned in the article. Registered pieces have been characterised in the further part of the text. Emphasis has been put on the character of the material that pictures the marriage of traditional repertoire with the one of folk style or even popular popular provenience.

En este capítulo se hace una breve presentación de las recomendaciones técnicas mínimas que deberían tomarse en cuenta al momento de registrar imágenes, sonidos y videos con la finalidad de preservar una lengua determinada. Se pone más énfasis en las buenas prácticas, los métodos y las recomendaciones de sentido común que en los aparatos o programas con los que se registra los archivos audiovisuales, pues eso cambia constantemente.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

History, origin, context, promotion, and reception of singer Elvis Presley's second number-one hit record "I Want You, I Need You, I Love You," released by RCA in June 1956, which includes discussion of its lyrics and Presley's performance, Life Magazine's coverage of the recording session, and Presley's related television appearance.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

From the earliest days of sound recording technology shared a fraught relationship with the pre-modern cultures of South Asia, and in particular with traditional music and sounds. Imperial companies and colonial ethnographers introduced the recording of sound in South Asia in the early 20th century. The recording of musical performances along with other forms of sound (i.e., speeches, comedy shows, theatre, and staged acts) within a studio setting that were then made available publicly as objects for reproduction and as products for sale had far-reaching social and sonic effects. Recording technologies altered the performance aesthetics of sound practices by limiting the duration and scope of improvisation and transformed modes of distribution by transmitting vocals, instrumental music, and local sounds as fixed objects to mass audiences for the first time. Yet there was resistance to recording the voices and sounds of colonized subjects in South Asia on the part of leading musicians and sound practitioners who, for a long time, refused to commit their improvisational sounds to shellac discs. The article addresses this question: what were the reasons for their protestation?

Performance traditions are constantly evolving entities. Some musical traditions purposefully look to the past to reinvent and consolidate a sense of national-cultural identity in the present, a compelling case for which is provided by the performance practice of Grieg’s Slåtter, Op. 72, No. 2. An investigation of this practice in piano and Hardanger fiddle recordings of this repertoire, by means of new empirical techniques for the comparative analysis of beat tempo and dynamics, traces the mechanisms of stylistic recombination in the performance of this music. Cultural-historical and ethnographic contextual evidence reveals tension between discourse and actual performance practice in (re)constructions of Norwegian cultural identity, with broader implications of reinventing the performance practice of this repertoire on contemporary Norwegian cultural memory.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

In the wake of NAGPRA (Native American Graves Protection and
Repatriation Act), museums and archives are acutely aware of cultural property issues. Cultural intellectual property remains legislatively neglected. Ethical precedent does exist, however, for museums and archives to treat intangible heritage with the same respect as tangible property. Recorded sound collections in many libraries, museums and archives in the United States hold ethnographic recordings of indigenous American cultures. These recordings are of immense value to the cultures and peoples they document as well as to those who study the history and development of humankind. Often they require special treatment or restricted access.

Through the development of collections management policies and procedures, a responsible institution can identify sensitive
recordings in its collections and isolate them for further investigation. By doing so, an institution can allow broader access to non-sensitive recordings and can begin the process of determining how to properly manage those that are culturally sensitive.

El objetivo del presente estudio es relevar las tradiciones interpretativas de la ópera Il
Trovatore de Giuseppe Verdi a través del análisis de registros sonoros, estudio y
comparación de fuentes con la edición crítica de la partitura realizada en conjunto entre la
Casa Editorial Ricordi Milán y The University of Chicago Press en 1993. Este trabajo
permitirá contar con un sustento teórico que complete el estudio de la obra en favor de
nuevas propuestas que continúen, contradigan o renueven estas prácticas interpretativas.
Para ello hemos seleccionado veinte grabaciones completas y once arias que abarcan un
período de tiempo de 106 años entre 1908 y 2014. Para la comparación han sido tenido en
cuenta los siguientes parámetros: velocidad (discrepancia en la interpretación de las
velocidades metronómicas indicadas por el compositor - cambios súbitos o graduales en la
velocidad de diversos fragmentos que no obedecen a ninguna indicación de la partitura);
variantes en la línea melódica; texto (distribución silábica – pronunciación - cambios de
texto); duración (cambios de ritmo en la línea vocal – detenciones - prolongación de las
líneas vocales en la finalización de escenas -cadencia vocal con detención total); cortes;
interpolaciones y transposiciones. Para mejor visualización de los resultados las
audiciones se han volcado en cuadros comparativos. La contextualización de la obra en su
entorno histórico-cultural se estableció a través del análisis musical enfocado en establecer
parámetros formales, armónicos, melódicos, rítmicos, instrumentales y topográficos.
Asimismo se observaron otros procedimientos compositivos que pudieron ser comparados
con los de otros compositores de la época.
Como consecuencia del examen de los registros sonoros seleccionados podemos asegurar
que la ópera Il Trovatore ha sufrido cambios musicales durante sus interpretaciones con
respecto a lo escrito en la partitura los cuales tienden a replicarse en versiones realizadas en
diferentes lugares, momentos y con la participación de diversos intérpretes. Los mismos
han sido clasificados, comparados y analizados. En los casos pertinentes se aporta la
transcripción de las versiones escuchadas. Asimismo hemos rescatado aquellas situaciones
que por su conducta se han establecido como tradiciones de interpretación que se
multiplicaron, desarrollaron, transformaron y subsistieron en el tiempo. Así, la presente
investigación nos da un completo panorama acerca de la historia sonora de Il Trovatore.
Conocer las tradiciones interpretativas que se desarrollaron alrededor de la obra permite un
abordaje más completo de la misma, no sólo en el campo de la comprensión analítica sino
como sustento al momento de tomar decisiones artísticas en favor de su puesta en acto. En
este sentido el trabajo aporta evidencia a la cual se ha arribado en forma sistematizada y
metódica. Este conocimiento amplía la gama de posibilidades de interpretación que
subyacen en la partitura y resalta aspectos que la completan. Sobre todo estimamos que es
un aporte significativo al campo de nuestra especialidad, la dirección musical.

This paper was presented at the 2019 Sydney Folk Festival and focuses on musical mis-appropriations of Indigenous Australian cultures by non-Indigenous composers, particularly in popular music. The argument is made that this body of songs and musical works, although controversial, can be re-purposed and de-colonised by Indigenous creatives. In order to draw attention to this aspect of Australian music history, two projects are outlined and discussed. The first is a database and index of "Musical Aboriginalia" which seeks to document all such compositions and related iconography, and the second a reissue album of rare archival recordings of this material from 1949-1962. Issues and concerns surrounding the use of this material is discussed, using both Indigenous and non-Indigenous perspectives.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Esta tesis doctoral trata sobre las grabaciones integrales de Iberia de Isaac Albéniz, desde una perspectiva que tiene en cuenta varias aristas con la intención de obtener una visión completa de estos documentos. Las diversas secciones abordan aspectos particulares relacionados con el objeto de estudio, siendo así que el cuerpo central del trabajo de investigación está dividido en tres partes: la primera de ellas desarrolla una discografía, aporta las fichas biográficas de los pianistas y documenta los elementos complementarios de las grabaciones; la segunda explora la iconografía mostrada en las carátulas de discos; y la tercera parte se enfoca en el tempo musical. A estas secciones analíticas le anteceden un estado de la cuestión y la presentación de una propuesta metodológica que posibilita el estudio sistemático del registro sonoro. El trabajo se inicia con el diseño de la investigación y cierra con un apartado que sintetiza los puntos principales del estudio realizado. La importancia de esta tesis recae en su enfoque riguroso y científico para estudiar la información musical, visual y discográfica dentro de un contexto interdisciplinario. El limitado número de registros contemplados y lo homogéneo del grupo en cuanto al soporte sonoro, permiten realizar un estudio comparativo de aspectos concretos con pocas variables. En un concepto más amplio, esta investigación contribuye al entendimiento de las grabaciones musicales como testigos fehacientes del siglo XX. Estos documentos sonoros han cobrado vital importancia al permitir el estudio de la interpretación musical y al existir un número considerable de registros disponibles. La perspectiva de estudio aplicada a dicha realidad conlleva las siguientes ventajas: en primer lugar promueve el posicionamiento de la grabación como objeto de estudio dentro del quehacer musicológico actual. En segundo, posibilita la obtención de máxima información de los elementos constitutivos de una grabación a través de las herramientas adecuadas. Y finalmente, ofrece una aproximación sistemática novedosa para estudiar el registro sonoro como un documento musical, histórico y comercial.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Lotte Lehmann (1888-1976) was one of the most distinguished singers of her generation, specializing in particular in the Wagnerian and Straussian operatic repertoire. Together with Maria Jeritza, she was an acclaimed prima donna at Wiener Hofoper under the superintendences of Franz Schalk, Richard Strauss and Clemens Krauss, until the Nazi Anschluss of 1938 led her leave for the USA. She established in California, continuing her operatic career until 1946 and co-founding the Music Academy of the West in Santa Barbara, where she taught Vocal Interpretation. Lehmann’s 1924 first appearance as the Marschallin under Bruno Walter at Covent Garden can be considered as a breaking point in her artistic life. This event marked the starting point of an international career throughout which Lehmann never ceased to sing the Straussian role. As a result, a complex relationship was engendered, linking the singer to that role and vice versa.
This article aims to reconstruct the main characteristics of Lehmann’s interpretative model for the Marschallin through the analysis of the singer’s writings and of the audio-visual materials related to her performances of the role. Moreover, a comparison between Lehmann’s model and the cultural ‘traditions’ embodied by the character of Marie Thérèse according to von Hofmannsthal and Strauss’s conception will highlight some phenomena related to the US reception of both the singer and the composer.
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The complete article can be read on:
https://www.sidm.it/ojs/index.php/ridm/issue/view/117

As the film focuses on how technology and messages introduced by the missionaries play a role in larger socioeconomic transformations, The Tailenders asks viewers to think deeply about the impact of evangelism on indigenous communities facing crises caused by global economic forces. As an outreach tool, this documentary provides a springboard for discussions about the pursuit of social justice and the often complex — and sometimes ambiguous — definitions of acceptance, resistance, benefit, harm and salvation.

FILM SYNOPSIS: Global Recordings Network (GRN), founded in Los Angeles in 1939, has produced audio versions of Bible stories in over 5,500 languages. GRN aims to record in every language on earth. They distribute the recordings, along with ultra-low-tech hand-wind players, in isolated regions and among displaced migrant workers. GRN calls their target audience "the tailenders" because they are the last to be reached by worldwide evangelism.

*Served as one of the guide producers.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Until the first half of the 20th Century, traditional Irish music had remained almost exclusively oral. With recent widespread incorporation of digital communications and music dispersal networks, Irish musicians now employ multiple forms of technology on a daily basis as they document and develop their artform and maintain links with other players and a greater conceptualization of the tradition. These lines of communication and means of dissemination, though [post]modern and at odds with classic ideas of traditional music, are essential to today's traditional musicians as they discuss authenticity, negotiate regional style and repertoire, integrate with their community, and develop the core of the tradition through ongoing dialogue. Today's musicians are spread across the globe, and as their tradition seems to have lost a central geographic anchor, much of their sense of grounding and connection with ideas of traditionality and authenticity have become reliant on these digital lines of communication, which have become almost as vital as the information being passed. This study will therefore approach traditional Irish musical traditions as amalgamations of many individual experiences formed as a product of constant discussion within and without the core of the tradition, mediated at times by multiple layers of technology, yet always striving for historic continuity.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Lusitana Musica (rubrica publicada pela revista Glosas) pretende viajar pela memória de uns, pela curiosidade de outros, revisitando alguma da mais importante discografia que marcou a nossa história. É indispensável relembrar que a importância destas edições revela-se no impacto que tiveram em determinado período e contexto social e artístico, revalorizando-se assim o seu carácter histórico no âmbito do nosso património musical. Com estas edições os ouvidos não ficaram iguais. Houve um antes e um depois…

The last twenty years have seen concerted efforts to shift the object of musicological study from scores to performances and sound recordings have played a huge part in fostering a sub-discipline of musical performance studies that focuses on acts rather than text. An action-centred musicology has sought to reposition musical creativity from enduring products or the minds of individuals to the diverse social and cultural sites of musical production and reception. Taking as a starting point Nicholas Cook’s theorization of recordings beyond the reproduction paradigm, this chapter considers how approaches to the cultural and historical, analytical, empirical and ethnographic study of classical sound recordings have been fuelled by this fast-changing scholarly landscape and have contributed to shaping an increasingly interdisciplinary field of musical performance studies which seeks to understand performances (recorded or otherwise) as intrinsically creative social practices. By firmly locating the study, criticism, and reception of classical sound recordings at the disciplinary cross-roads of musicology, empirical musicology, psychology, sociology, and ethnomusicology, this chapter reflects critically on the rich potential for cross-disciplinary dialogue and how this can extend the purview of musical performance studies.

The following is an unpublished outline for the "Australian Discographic Reissue Project" - an unrealised venture that would have seen Australia's entire recorded output of 78rpm recordings (from 1925-1958) digitised, remastered, researched and reissued through a combination of physical CDs and digital outlets like iTunes and Spotify.