Discography of Recordings Studied1
Bach, Johann Sebastian: Sonatas and Partitas for Unaccompanied Violin
Barton Pine, Rachel (1999). Complete set. Concert – WFMT 98.7 FM Broadcast, Chicago [recording sourced from the artist].
Barton Pine, Rachel (2004). Baroque bow. G minor Sonata, D minor Partita. Cedille 90000 078.
Barton Pine, Rachel (2007). Baroque bow. Complete set. Concert, Montreal Chamber Music Festival: ‘The majesty of Bach: The complete six Sonatas and Partitas’, May 12, 2007 [private recording sourced from the artist].
Beznosiuk, Pavlo (2011 (Rec. 2007)). Baroque violin. Complete set. Linn Records CKD 366.
Brooks, Brian (2001). Baroque violin. Complete set. Arts Music 47581-2.
Buswell, James (1995 (Rec. 1989). Centaur CRC 2147/48.
Edinger, Christiane (1991). ‘Sonatas and Partitas Volume 2’, D minor partita, C Major sonata, E Major Partita. NAXOS 8.55057.
Ehnes, James (1999). Complete set. Analekta Fleurs de lys FL 23147-8.
Faust, Isabelle (2010). ‘Sonatas and Partitas BWV 1004-1006 Volume 1’, D minor, C Major, E Major. Harmonia Mundi HMC 902059 [vol. 2 issued in 2012: HMC 902124].
Fischer, Julia (2005). Complete set. PentaTone Classics 5186072.
Gähler, Rudolf (1999). Curved ‘Bach-bow’. Complete set. Arte Nova Classics 74321 67501-2.
Gringolts, Ilya (2001). ‘Bach’, B minor Partita, A minor Sonata, E Major Partita. Deutsche Grammophone DG 474 235-2.
Hahn, Hilary (1999). D minor Partita, C Major Sonata, E Major Partita. SONY SK 62793.
Holloway, John (2006 (Rec. 2004)). Baroque violin. Complete set. ECM New Series 1909/10 B0007621-02.
Huggett, Monica (1995). Baroque violin. Complete set. Virgin Veritas 5452052.
Ibragimova, Alina (2009). Complete set. Hyperion CDA67691/2.
Khachatryan, Sergey (2010). Complete set. Naïve V5181.
Kremer, Gidon (1980). Complete set. Philips 416651-2.
Kremer, Gidon (2005). Complete set. ECM New Series 1926/27.
Kuijken, Sigiswald (1983 (Rec. 1981)). Baroque violin. Complete set. Deutsche Harmonia Mundi DHM 77043.
Kuijken, Sigiswald (2001). Baroque violin. Complete set. Deutsche Harmonia Mundi DHM 5472775272.
Lev, Lara (2001). ‘Bach: Sonatas and Partitas Volume 2’, D minor partita, C Major Sonata, E Major Partita. Finlandia Records, Warner Classics APEX 092-4808-2.
Luca, Sergiu (1977). Baroque violin. Complete set. Nonesuch 7559-73030-2.
Matthews, Ingrid (2001 (Rec. 1997)). Baroque violin. Complete set. Centaur CRC 2472/2473.
Mintz, Shlomo (1984). Complete set. Deutsche Grammophone DG 413810-2.
Mullova, Viktoria (1990 (Rec. 1987)). B minor Partita. Philips 420948.
Mullova, Viktoria (1992-3). Three Partitas. Philips 4757451.
Mullova, Viktoria (2009 (Rec. 2007-2008)). Baroque bow. Complete set. Onyx 4040.
Perlman, Itzhak (1986). Complete set. EMI Classics 7 49483 2.
Podger, Rachel (1999). Baroque violin. Complete set. Channel Classics CCS 12198.
Poppen, Christoph (2000). Baroque violin. D minor Partita. ‘Morimur.’ ECM 1765.
Poulet, Gerard (1996). Complete set. Arion 268296.
Ricci, Ruggiero (1988). Concert: A minor Sonata, D minor Partita. ‘Ricci: Celebrating Six Decades on Stage’. One-Eleven URS 92033.
Ricci, Ruggiero (1991). Concert: B minor Partita. ‘Ricci: Celebrating Six Decades on Stage’. One-Eleven URS 92033.
Schmid, Benjamin (1999). Complete set. Arte Nova 74321 72113 2.
Schröder, Jaap (2005 (Rec. 1985)). Baroque violin. Complete set. NAXOS 8.557563-64.
Shumsky, Oskar (1983). Complete set. Musical Heritage Society Recording ASV ALHB 306. [According to a NIMBUS 2010 release (NI2557), the original recording was made in 1979 by Amreco Inc.]
St John, Lara (2007 (Rec. 2006-7)). Complete set. Ancalagon AR 132.
Szenthelyi, Miklós (2002). Complete set. Hungaroton HCD 32071-72.
Tetzlaff, Christian (1996). Complete set. Virgin Veritas 545089-2.
Tetzlaff, Christian (2005). Complete set. Virgin Classics 545668-2.
Tognetti, Richard (2005). Complete set. ABC Classics 476 8051.
van Dael, Lucy (1996). Baroque violin. Complete set. NAXOS 8.554423.
Wallfisch, Elizabeth (1997). Baroque violin. Complete set. Hyperion Dyad CDD 22009.
Zehetmair, Thomas (1984). Complete set. Teldec 903176138-2.
Other Recordings Mentioned
Bach, Johann Sebastian: Sonatas and Partitas for Solo Violin (BWV1001-1006)
Enescu, George (1999 (Rec. ca. 1949)). Instituto Discografico Italiano IDIS 328/29.
Menuhin, Yehudi (1989 (Rec. 1934-6)). EMI Reference (mono) CHS 763035 2.
Montanari, Stefano (2012 (Rec. 2011)). Amadeus Elite Paragon DDD AMS 108/109-2 SIAE.
Bach, Johann Sebastian: Selected Sonatas and Partitas
Busch, Adolf (1994 (Rec. 1929)). Partita in D minor. EMI Japan TOCE 6781-97.
Busch, Adolf (1983 (Rec. 1934)). G minor Sonata. Danacord DACO 136.
Huberman, Borislav (1997 (Rec. 1942)). Partita in D minor. Arbiter 105.
Heifetz, Jascha (1992 (Rec. 1935)). Sonata in G minor, Sonata in C Major, Partita in D minor. EMI References CDH 7 64494 2.
Szigeti, Joseph (1999 (Rec. 1927-1933)). Sonata in G minor, Sonata in A minor. Biddulph LAB 153.
Bach, Johann Sebastian: Goldberg Variations BWV 988
Gould, Glenn (1992 (Rec. 1955)). Sony SMK 52685.
Gould, Glenn (1981). CBS DBL 37779.
Leonhardt, Gustav (1992 (Rec. 1953)). Vanguard OVC 2004.
Leonhardt, Gustav (1995 (Rec. 1965)). Teldec DAW 4509-97994-2.
Leonhardt, Gustav (1990 (Rec. 1978)). Deutsche Harmonia Mundi GD 77149.
Bach, Johann Sebastian: Various Other Works
Accompanied Violin Sonatas (BWV 1014-1023). James Ehnes violin, Luc Beauséjour harpsichord, with Benoit Loiselle cello (2008 (Rec. 2004-2005)). Analekta AN 2 2016-7.
Accompanied Violin Sonatas (BWV 1014-1023). Viktoria Mullova violin, Ottavio Dantone harpsichord and organ, with Vittorio Ghielmi viola da gamba and Luca Pianca lute (2007). Onyx 4020.
Brandenburg Concertos Nos. 1-6 (BWV 1046-1051), soloistic recording with Sigiswald Kuijken violin, Frans Brüggen recorder, Anner Bijlsma cello, and Gustav Leonhardt harpsichord, among others (1999 (Rec. 1976-1977)). Sony Essential Classics SBK 61814-5.
Mass in B minor (BWV 232), Harnoncourt, Nikolaus conductor, Concentus Music Wien, Wiener Sängerknaben, Chorus Viennensis (1994 (Rec. 1968)). Teldec DAW 4509-95517-2.
Mass in B minor (BWV 232), Harnoncourt, Nikolaus conductor, Concentus Musicus Wien, Arnold Schoenberg Chor (1995 (Rec. 1986)). Teldec 2292-42676-2.
St Matthew Passion (BWV 244), Harnoncourt, Nikolaus conductor, Concentus Musicus Wien et al. (1994 (Rec. 1971). Teldec DAW 2292-42509-2.
Six Suites for Solo Cello (BWV 1007-1012), Wispelwey, Pieter (2012). Compact Disk Recording with DVD documentary. Evil Penguin Records Classics EPRC 0012.
Six Suites for Solo Cello (BWV 1007-1012), Angela East (2009 (Rec. 2001-2004)). Red Priest Recording RP006 2009.
Six Suites for Solo Cello (BWV 1007-1012), David Watkin (2015 (Rec. 2013)). Resonus Limited RES10147.
Bach—Violin and Voice (2010). Hilary Hahn violin, Mattias Goerne and Christine Schäfer voice, Munich Chamber Orchestra, Alexander Liebreich conductor. Deutsche Grammophon 477 8092.
Beethoven, Ludwig van: Violin Sonatas
Complete set. Rachel Barton Pine violin and Matthew Hagle piano (2005). Concert broadcast by WFMT Radio. Chicago [sourced from the artist].
Complete set. Isabelle Faust violin and Alexander Melnikov piano (2009). Harmonia Mundi 902025-27.
Complete set. Viktoria Mullova violin and Kristian Bezuidenhout piano (2010). Onyx 4050.
Complete set. Sophie Mutter violin and Lambert Orkis piano (1998). Deutsche Grammophon DG 457 623-2.
Sonatas Op. 23 and Op. 30 No. 2. Daniel Sepec violin and Andreas Staier piano (2006). Harmonia Mundi 901919.
Mozart, Wolfgang Amadeus
Sonatas for Fortepiano and Violin (3 vols). Malcolm Bilson fortepiano, Sergiu Luca classical violin (1985). Nonesuch Digital 9 79112.
Violin Concerto No. 5 in A Major (K219), Andrew Manze violin, The English Concert (2006). Harmonia Mundi HMU 807385.
Violin Concerto No. 5 in A Major (K219), Hilary Hahn violin, Deutsche Kammerphilharmonie Bremen, Paavo Järvi conductor (2015). Deutsche Grammophon 0289 479 3956 6 CD DDD GH.
Other
All’Improviso, L’Arpeggiata, Christina Pluhar (2004). Alpha Productions Alpha 512.
American Virtuosa: Tribute to Maud Powell (Miscellaneous works), Rachel Barton Pine violin, Matthew Hagle piano (2007). Cedille 9000 097.
Inspired by Bach: The Cello Suites, Yo Yo Ma in collaborations with other non-musician artists (2000). 3 Vols. DVD. Sony Pictures.
Officium, Jan Garbarek with The Hilliard Ensemble (1994). ECM New Series ECM 1523 NS.
O’Stravaganza – Vivaldi in Ireland, Hughes de Courson (2001). Virgin Classics VC 545494-2.
Red Priest: Johann I am only Dancing – Masterworks by J.S. Bach (2009). Red Priest Recordings RP007.
Reimaginings, Joe Chindamo piano and Zoe Black violin (2012). Which Way Music WWM013.
Powell Maud: Complete Recordings 1904-1917. Volumes 1-3, NAXOS Historical 8.110961-8.110963.
Schubert: Winterreise, Jonas Kaufmann tenor, Helmut Deutsch piano (2014). Sony Classical 88883795652.
Vivaldi [Five Violin Concertos], Viktoria Mullova, Il Giardino Harmonico, Giovanni Antonini conductor. (2004). Onyx 4001.
Abrams, M[eyer] H[oward], A Glossary of Literary Terms, 4th edn (New York: Holt, Rinehart and Winston, 1981).
Adorno, Theodor Wesendunk, ‘Bach Defended against its Devotees’, in Prisms, Engl. trans. by Shierry and Samuel Weber (Cambridge, MA: MIT Press, 1981 [1967]), pp. 133-146 (Original German publication in 1951 as Bach gegen seine Liebhaber verteidigt).
Aldrich, Putnam, Ornamentation in Bach’s Organ Works (New York: Coleman-Ross, 1950).
[Anders] Stern, Günther, ‘Philosophische Untersuchungen zu musikalischen Situationen’, typescript, Österreichisches Literaturarchiv der Österreichischen Nationalbibliothek, Vienna. Nachlass Günther Anders. ÖLA 237/04.
Anonymous, ‘Viktoria Mullova and Kristian Bezuidenhout’, Concert Program Notes for concert presented on 12 March 2011 as part of the 2010-2011 Camerata Musica International Artists Series in Cambridge (UK), http://www.cameratamusica.org.uk/past-concerts/
Anonymous, ‘One to Watch: Sergey Khachatryan, Violinist’ [For the Record], Gramophone, 80/962 (January 2003), 11.
Applebaum, Samuel, ed., The Way They Play: Illustrated Discussions with Famous Artists and Teachers, Books 1, 4 (Neptune City, NJ: Paganini Publications, 1975-1983).
Ashley, Tim, ‘Viktoria Mullova – Concert Review’, The Guardian, Monday 10 April 2000, http://www.theguardian.com/culture/2000/apr/10/artsfeatures4
Auer, Leopold, Violin Master Works and Their Interpretation (New York: Carl Fischer, 2012).
Auslander, Philip, ‘Musical Personae’, The Drama Review, 50/1 (2006), 100-119, http://dx.doi.org/10.1162/dram.2006.50.1.100
Babbitt, Milton, ‘The Composer as Specialist’, reprinted in The Collected Essays of Milton Babbitt, ed. by Stephen Peles, Stephen Dembski, Andrew Mead, and Joseph Straus (Princeton: Princeton University Press, 2003), pp. 48-54 [originally published in High Fidelity (February 1958) as ‘Who Cares if you Listen’].
Babbitt, Milton, ‘A Life of Learning’, Charles Homer Haskins Lecture for 1991. ACLS Occasional Paper, 17 (New York: American Council of Learned Societies, 1991).
Badel, James, ‘On Record: Christopher Hogwood’, Fanfare, 9/2 (November-December 2005), 90.
Bangert, Daniel, ‘Doing without Thinking: Processes of Musical Decision-Making in Period Instrument Performance’ (PhD Thesis, The University of New South Wales, 2012).
Bangert, Daniel, Dorottya Fabian, Emery Schubert, and Daniel Yeadon, ‘Performing Solo Bach: A Case Study of Musical Decision Making’, Musicae Scientiae, 18/1 (2014), 35-52, http://dx.doi.org/10.1177/1029864913509812
Barton Pine, Rachel, On-line Biography, http://industry.rachelbartonpine.com/bio_medium.php
Barton Pine, Rachel, The Rachel Barton Pine Collection: Original Compositions, Arrangements, Cadenzas and Editions for Violin (New York: Carl Fischer, 2009).
Baudelaire, Charles, ‘The Painter of Modern Life’, in The Painter of Modern Life and Other Essays, ed. and trans. by Jonathan Mayne (London: Phaidon Press, 2012 [1995]), pp. 1-41.
Bazzana, Kevin, Glenn Gould: The Performer in the Work (New York: Oxford University Press, 1997).
Bazzana, Kevin, Wondrous Strange: The Life and Art of Glenn Gould (Toronto: McClelland and Stewart, 2003).
Ben-Amos, Dan, Do We Need Ideal Types (in Folklore)? An Address to Lauri Hinko (Turku, Finland: Nordic Institute of Folklore, 1992).
Berkowitz, Aaron L., The Improvising Mind: Cognition and Creativity in the Musical Moment (New York: Oxford University Press, 2010), http://dx.doi.org/10.1093/acprof:oso/9780199590957.001.0001
Berry, Wallace, Musical Structure and Performance (New Haven: Yale University Press, 1989).
Bharucha, Jamshed J., ‘Neural Nets, Temporal Composites, and Tonality’, in The Psychology of Music (2nd edn), ed. by Diana Deutsch (San Diego: Academia Press, 1999), pp. 413-440, http://dx.doi.org/10.1016/b978-012213564-4/50012-3
Bononcini, Giovanni, Sonate da chiesa a due violini (Venice: [n.p.], 1672).
Bowen, José A., ‘Tempo, Duration, and Flexibility: Techniques in the Analysis of Performance’, Journal of Musicological Research, 16/2 (1996), 111-156, http://dx.doi.org/10.1080/01411899608574728
Bowen, José A., ‘Performance Practice versus Performance Analysis: Why Should Performers Study Performance?’, Performance Practice Review, 9/1 (1996), 16-35, http://dx.doi.org/10.5642/perfpr.199609.01.03
Bowen, José A. ‘Finding the Music in Musicology: Performance History and Musical Works’, in Rethinking Music, ed. by Nicholas Cook and Mark Everist (Oxford and New York: Oxford University Press, 1999), pp. 424-451.
Brown, Clive, ‘Performing Nineteenth-Century Chamber Music: The Yawning Chasm between Contemporary Practice and Historical Evidence’, Early Music, 38 (2010), 476-480, http://dx.doi.org/10.1093/em/caq060
Burney, Charles, The Present State of Music in France and Italy (London, T. Becket & Co., 1771).
Burney, Charles, A General History of Music (New York: Dover Books, 1957 [1776]).
Butt, John, Bach Interpretation: Articulation Marks in Primary Sources (Cambridge: Cambridge University Press, 1990).
Butt, John, Bach: B minor Mass (Cambridge: Cambridge University Press, 1991), http://dx.doi.org/10.1017/cbo9781139166379
Butt, John, ‘Bach Recordings since 1980: A Mirror of Historical Performance’, in Bach Perspectives 4, ed. by David Schulenberg (Lincoln and London: University of Nebraska Press, 1999), pp. 181-198.
Butt, John, Playing with History: The Historical Approach to Musical Performance (Cambridge: Cambridge University Press, 2002), http://dx.doi.org/10.1017/cbo9780511613555
Cannam, Chris, Christian Landone, and Mark Sandler, ‘Sonic Visualiser: An Open Source Application for Viewing, Analysing, and Annotating Music Audio Files’, in Proceedings of the ACM Multimedia 2010 International Conference (Florence, October 2010), 1467-1468, http://dx.doi.org/10.1145/1873951.1874248
Carman, Taylor, ‘The Body in Husserl and Merleau-Ponty’, Philosophical Topics, 27/2 (1999), 205-226, http://dx.doi.org/10.5840/philtopics199927210
Chaffin, Roger, Gabriela Imreh, and Mary E. Crawford, Practicing Perfection: Memory and Piano Performance (Mahwah, NJ: Lawrence Erlbaum, 2002), http://dx.doi.org/10.4324/9781410612373
Cilliers, Paul, Complexity and Postmodernism: Understanding Complex Systems (London: Routledge, 1998).
Clarke, Eric, ‘Structure and Expression’, in Musical Structure and Cognition, ed. by Peter Howell, Ian Cross, and Robert West (London: Academic Press, 1985), pp. 209-236.
Clarke, Eric, ‘Expression in Performance: Generativity, Perception and Semiosis’, in The Practice of Performance, ed. by John Rink (Cambridge: Cambridge University Press, 1995), pp. 21-54, http://dx.doi.org/10.1017/cbo9780511552366.003
Clarke, Eric, ‘Empirical Methods in the Study of Performance’, in Empirical Musicology: Aims, Methods, Prospects, ed. by Eric Clarke and Nicholas Cook (Oxford and New York: Oxford University Press, 2004), pp. 77-102, http://dx.doi.org/10.1093/acprof:oso/9780195167498.003.0005
Coulter, Todd J., ‘Editorial: Music as Performance—The State of the Field’, Contemporary Theatre Review, 21/3 (2011), 259-260, http://dx.doi.org/10.1080/10486801.2011.585983
Cook, Nicholas, Music, Imagination and Culture (Oxford: Clarendon Press, 1992).
Cook, Nicholas, ‘The Domestic Gesamtkunstwerk, or Record Sleeves and Reception’, in Composition, Performance, Reception: Studies in the Creative Process in Music, ed. by Wyndham Thomas (Aldershot: Ashgate, 1998), pp. 105-117.
Cook, Nicholas, ‘Between Process and Product: Music and/as Performance’, Music Theory Online, 7/2 (April 2001), http://www.mtosmt.org/issues/mto.01.7.2/mto.01.7.2.cook.html
Cook, Nicholas, ‘Methods for Analysing Recordings’, in The Cambridge Companion to Recorded Music, ed. by Nicholas Cook, Eric F. Clarke, Daniel Leech-Wilkinson, and John Rink (Cambridge: Cambridge University Press, 2009), pp. 221-245, http://dx.doi.org/10.1017/ccol9780521865821.027
Cook, Nicholas, Eric Clarke, Daniel Leech-Wilkinson, and John Rink, eds., The Cambridge Companion to Recorded Music (Cambridge: Cambridge University Press, 2009), http://dx.doi.org/10.1017/ccol9780521865821
Cook, Nicholas, ‘Introduction: Refocusing Theory’, Music Theory Online, 18 (2012), http://mtosmt.org/issues/mto.12.18.1/mto.12.18.1.cook.pdf
Cook, Nicholas, ‘Bridging the Unbridgeable? Empirical Musicology and Interdisciplinary Performance Studies’, in Taking it to the Bridge: Music as Performance, ed. by Nicholas Cook and Richard Pettengill (Ann Arbor: University of Michigan Press, 2013), pp. 70-85.
Cook, Nicholas, Beyond the Score: Music as Performance (New York: Oxford University Press, 2014), http://dx.doi.org/10.1093/acprof:oso/9780199357406.001.0001
Couperin, François, Preface to Pièces de clavecin, Book 3 (Paris, 1722).
Cowan, Rob, ‘Bach: Violin Sonatas and Partitas, BWV 1001-1006, Julia Fischer vn, Pentatone PTC 5186072 (150 minutes DDD)’, Gramophone, 89/993 (June 2005), 72.
Creighton, James, Discopaedia of the Violin, 1889-1971 (Toronto: University of Toronto Press, 1974).
Crick, Jamie, ‘Classic FM speaks to Viktoria Mullova’, https://www.youtube.com/watch?v=Kf83eztSVtg.
Cross, Ian, and Iain Morley, ‘The Evolution of Music: Theories, Definitions and the Nature of the Evidence’, Communicative Musicality: Exploring the Basis of Human Companionship, ed. by Stephen Malloch and Colwyn Trevarthen (Oxford: Oxford University Press, 2009), pp. 61-81.
Cullingford, Martin, ‘The Experts’ Expert—Violinists’, Gramophone, 82/986 (November 2004), 46.
Damasio, Antonio, The Self Comes to Mind: Constructing the Conscious Brain (New York: Vintage, 2012).
Danton, David, ‘Bach Partitas no. 1 in B minor BWV 1002 & no. 3 in E Major BWV 1006, Sonata No. 2 in A minor BWV 1003. Ilya Gringolts (violin). Deutsche Grammophon 474 235-2’, The Strad, 114/1363 (Nov 2003), 1269.
Davies, Stephen, Musical Works and Performances: A Philosophical Exploration (New York: Oxford University Press, 2001), http://dx.doi.org/10.1093/0199241589.001.0001
Davidson, Jane W., ‘What Type of Information is Conveyed in the Body Movements of Solo Musician Performers?’, Journal of Human Movement Studies, 6 (1994), 279-301.
Day, Timothy, A Century of Recorded Music: Listening to Musical History (New Heaven and London: Yale University Press, 2000).
De Landa, Manuel, A Thousand Years of Non-linear History (New York: Swerve Editions, 2000).
Deleuze, Gilles, Difference and Repetition, Engl. trans. by Paul Patton (New York: Columbia University Press, 1994).
Deleuze, Gilles, and Felix Guattari, A Thousand Plateaus, Engl. trans. by Brian Massumi (London: Bloomsbury Academic, 2013).
Deutsch, Diana, ed., The Psychology of Music, 2nd edn (San Diego: Academia Press, 1999).
Dirst, Matthew, ‘Bach’s French Overtures and the Politics of Overdotting’, Early Music, 25/1 (1997), 35-44, http://dx.doi.org/10.1093/em/25.1.35
Distler, Jed, ‘Review: Bach 3 Sonatas and 3 Partitas, BWV1001-1006, Gidon Kremer vn, ECM New Series 4767291 (131 minutes: DDD)’, Gramophone, 83/1001 (January 2006), 63.
Doğantan-Dack, Mine, ‘Philosophical Reflections on Expressive Music Performance’, in Expressiveness in Music Performance: Empirical Investigations across Styles and Cultures, ed. by Dorottya Fabian, Renee Timmers, and Emery Schubert (Oxford: Oxford University Press, 2014), pp. 3-21, http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0001
Dolan, David, John A. Sloboda, Henrik Jeldtoft Jensen, Björn Crüts, and Eugene Feygelson, ‘The Improvisatory Approach to Classical Music Performance: An Empirical Investigation into its Characteristics and Impact’, Music Performance Research, 6 (2013), 1-38, http://mpr-online.net/Issues/Volume%206%20%5B2013%5D/MPR0073.pdf
Dolmetsch, Arnold, The Interpretation of the Music of the Seventeenth and Eighteenth Centuries (London: Novello, 1949/1915 [R1969]).
Donington, Robert, The Interpretation of Early Music (London: Faber, 1963 [2nd edn: 1965; rev. 1974, reprinted with corrections 1975, 1977, rev. 1989, R1990]).
Dreyfus, Laurence, ‘Early Music Defended against its Devotees: A Theory of Historical Performance in the Twentieth Century’, The Musical Quarterly, 69/3 (1983), 297-322, http://dx.doi.org/10.1093/mq/lxix.3.297
Dreyfus, Laurence, ‘Beyond the Interpretation of Music’, Dutch Journal of Music Theory, 12/3 (2007), 253-272.
Druce, Duncan, ‘Reviews: Bach 3 Sonatas and 3 Partitas BWV1001-1006, Christian Tetzlaff vn, Hänssler Classic CD98 250 (130 minutes DDD)’, Gramophone, 85/1021 (August 2007), 71.
Druce, Duncan, ‘Reviews: Bach 3 Sonatas and 3 Partitas, BWV1001-1006, Sigiswald Kuijken vn, Deutsche Harmonia Mundi 05472 775 27-2 (135 minutes DDD)’, Gramophone, 79/947 (2001), 93.
Druce, Duncan, ‘Reviews: Bach 3 Sonatas and 3 Partitas BWV1001-1006, Richard Tognetti vn, ABC Classics CD ABC 4768051 (145 minutes: DDD)’, Gramophone, 84/1010 (October 2006), 80.
Druce, Duncan, ‘Sergey Khachatryan – An Engaging and Persuasively Virtuosic Debut from a Young Violinist to Note’, EMI Debut 575684-2 (71 minutes DDD), Gramophone, 80/962 (January 2003), 56.
Duarte, John, ‘Reviews: Bach Partitas – No. 1 in B Minor, BWV 1002; No. 2 in D minor, BWV 1004; No. 3 in E, BWV 1006, Viktoria Mullova vn, Philips 434 075-2 PH (77 minutes DDD)’, Gramophone, 72/853 (June 1994), 80.
Dulak, Michelle, ‘The Quiet Metamorphosis of “Early Music”’, Repercussions, 2/ 2 (1993), 31-61.
Eales, Adrian, ‘The Fundamentals of Violin Playing and Teaching’, in The Cambridge Companion to the Violin, ed. by Robin Stowell (Cambridge: Cambridge University Press, 1992), pp. 92-121, http://dx.doi.org/10.1017/ccol9780521390330.007
Efrati, Richard, Treatise on the Execution and Interpretation of the Sonatas and Partitas for Solo Violin and the Suites for Cello by Johann Sebastian Bach (Zürich: Atlantis Verlag, 1979).
Eichler, Jeremy, ‘String Theorist: Christian Tetzlaff Rethinks How a Violin Should Sound’, The New Yorker (27 August 2012), 34-39.
Eisler, Edith, ‘Christian Tetzlaff from Bach to Bartók’, Strings (February-March 1999), 50-56.
Elste, Martin, Meilensteine der Bach-Interpretation 1750-2000: Eine Werkgeschichte im Wandel (Stuttgart and Weimar: Metzler; Kassel: Bärenreiter, 2000).
Erlmann, Veit, Reason and Resonance: A History of Modern Aurality (New York: Zone Books, 2010).
Fabian, Dorottya, Bach Performance Practice, 1945-1975: A Comprehensive Review of Sound Recordings and Literature (Aldershot: Ashgate, 2003).
Fabian, Dorottya, ‘Towards a Performance History of Bach’s Sonatas and Partitas for Solo Violin: Preliminary Investigations’, in Essays in Honor of László Somfai, ed. by László Vikárius and Vera Lampert (Lanham, MD: Scarecrow Press, 2005), pp. 87-108.
Fabian, Dorottya, ‘The Recordings of Joachim, Ysaÿe and Sarasate in Light of their Reception by Nineteenth-Century British Critics’, International Review of the Aesthetics and Sociology of Music, 37/2 (2006), 189-211.
Fabian, Dorottya, ‘Is Diversity in Performance Truly in Decline? The Evidence of Sound Recordings’, Context, 31 (2006), 165-180.
Fabian, Dorottya ‘Classical Sound Recordings and Live Performances: Artistic and Analytical Perspectives’, in Recorded Music: Philosophical and Critical Reflections, ed. by Mine Doğantan-Dack (London: Middlesex University Press, 2008), pp. 232-260.
Fabian, Dorottya, ‘Ornamentation in Recent Recordings of J. S. Bach’s Solo Sonatas and Partitas for Violin’, Min-Ad: Israel Studies in Musicology Online, 11/2 (2013), 1-21, http://www.biu.ac.il/hu/mu/min-ad/
Fabian, Dorottya, ‘Commercial Sound Recordings and Trends in Expressive Music Performance: Why Should Experimental Researchers Pay Attention?’, in Expressiveness in Music Performance: Empirical Approaches across Styles and Cultures, ed. by Dorottya Fabian, Renee Timmers, and Emery Schubert (Oxford: Oxford University Press, 2014), pp. 58-79, http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0004
Fabian, Dorottya, and Eitan Ornoy, ‘Identity in Violin Playing on Records: Interpretation Profiles in Recordings of Solo Bach by Early Twentieth-Century Violinists’, Performance Practice Review, 14 (2009), 1-40, http://dx.doi.org/10.5642/perfpr.200914.01.03
Fabian, Dorottya, and Emery Schubert, ‘Musical Character and the Performance and Perception of Dotting, Articulation and Tempo in Recordings of Variation 7 of J.S. Bach’s Goldberg Variations (BWV 988)’, Musicae Scientiae, 12/2 (2008), 177-203, http://dx.doi.org/10.1177/102986490801200201
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1 Date refers to release.
