Reading Musical Interpretation

Given the recent surge of interest in the study of recordings, led by researchers in the UK through the Centre for the History and Analysis of Recorded Music (CHARM, 2004–9) and the Centre for Music Performance as Creative Practice (CMPCP, established in 2009), it is timely to read a book that is devoted to the analysis of interpretation in recorded performances. Julian Hellaby’s dual position as a researcher and professional pianist enables him to discuss interpretative issues for performers in an engaging manner that is philosophical yet also highly practical. He admits that ‘an inside knowledge of performance informs what I have written’ (p. xiii). Hellaby’s principal achievement is the construction of a framework, the ‘interpretative tower’, for analysing interpretation that is intended to guide musically informed listeners in the study of recorded performances. His book, therefore, is actually about listening, specifically analytical listening. Interestingly, Hellaby refers to his listener in several ways—‘informed listener’ (p. 3), ‘analytical listener’ (p. 23), ‘analyst’ (p. 159), ‘performance analyst’ (p. 156)—emphasizing the highly specialized demands and knowledge base required of an individual who might consider using the interpretative tower in research.

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