florida state university college of music performance practice

of these microfilms, as well as some of his early instrument collection, he was forced to
sell in his initial years living in London to sustain himself. 82
As a conductor of the London Baroque Ensemble, Haas initially focused on music
of Bach, and other composers that wrote in the time known as the “high baroque,” but
slowly expanded their programs to include repertory of virtually unknown or less popular
composers. 83 The ensemble was a popular addition for the B.B.C. European Service
broadcasts during the war but it was not until early 1946 that many radio listeners in
England became familiar with the group. 84 In 1951, the group released its first
gramophone record, which brought such high acclaim as to afford them continued
popularity making them one of the most influential ensembles in the first half of the
twentieth century. 85
Composer and German émigré Paul Hindemith began teaching at Yale in 1940
after leaving the inhospitable climate in Germany. Hindemith‟s advocacy for early music
was shaped prior to his arrival in the United States during his tenure as instructor at the
Berlin Hochschule, which housed a collection of early instruments. 86 His early music
activity in the United States found educational opportunity in venues such as the
Berkshire Music Center, informally known as Tanglewood, where he directed many early
music performances. 87 Hindemith‟s performances with the Collegium Musicum at Yale
consisted of composers including Perotin, Dufay, Josquin, Gabrieli and Monteverdi with
many performances using period instruments. 88 Many of these performances survive
through commercial recordings that demonstrate characteristics of Hindemith‟s
interpretations as lively tempos, abrupt dynamic changes, carefully handled polyphonic
entries and punctuating subsidiary material by making them louder and often staccato. 89
Six years after Stravinsky, Hindemith also lectured at Harvard, reiterating many of the
same complaints as Stravinsky regarding interpretative freedom of performers. 90 Even as
82
Jacobs, “The London Baroque Ensemble,” (accessed October 25, 2007).
83
Ibid.
84
Ibid.
85
Ibid.
86
Johann Buis, “Hindemith and Early Music: An American Encounter,” Early Music America 2.2 (Summer
1996): 29.
87
Ibid.
88
Fabian, Bach Performance Practice, 1945-1975, 32.
89
Buis, “Hindemith and Early Music: An American Encounter,” 31.
90
Le Huray, Authenticity in Performance, 2.
18