The recent article by Dorottya Fabian and Eitan Ornoy, “Identity in Violin Playing on Records: Interpretation Profiles in Recordings of Solo Bach” (PPR 2009)—which considers mainly the twentieth-century violinists Heifetz and Milstein (with reference as well to Szigeti, Menuhin, and others)—is unusual in that it generally avoids any discussion of Bach’s original performance practice. As the authors state at the outset, “when studying the performances, we are not concerned primarily with how they may relate to historically-informed performance and Bach’s intentions or presumed intentions.” In this they depart from all the studies that have appeared thus far in PPR from its first issue (1988), where it was stipulated that contributions are to be based on evidence from the time of a composer or group of composers, such evidence throwing light on the performance of their music...
"Correspondence: June 23, 2010,"
Performance Practice Review:
1, Article 1.
Available at: http://scholarship.claremont.edu/ppr/vol15/iss1/1