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Stolen time: the history of tempo rubato

Stolen time: the history of tempo rubato

Clarendon Press. 1997

Ficha técnica

  • EAN: 9780198166672
  • ISBN: 978-0-19-816667-2
  • Editorial: Clarendon Press
  • Fecha de edición: 1997
  • Encuadernación: Rústica
  • Idioma: Inglés
  • Nº páginas: 472

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The history of tempo rubato ('stolen time') is as old as music itself. Composers and performers sometimes alter the expected rhythm or tempo in order to enhance the expressive power of music. The technique has been variously described by theorists and composers as 'an honest theft', 'a pernicious nuisance', even 'seductive' (by Franz Liszt), yet it remains integral to the performance and history of music.

Professor Hudson's book is the first to resent the complex history of this device. He identifies and traces de development of two main tyes of rubato: an ealier one in which note values in a melody are altered while the accompaniment keeps stict time, and a later, more familiar one in which the tempo of the entire musical substance fluctuates. In the course of his narrative he ranges widely over Western music, from Gregorian Chant to Chopin, from C. P. E. Bach to jazz, quoting extensively from the writing of theorists, composers, and performers. In doing so he not only suggests new ways of approaching rubato in the music of nineteenth-century composers such as Chopin and Liszt, where we expect to encounter the term, but also illuminates the music of earlier and later periods, revealing its use even in the music of that most metronomic of composers, Stravinsky. As such his boo will be of wide interest nd of particular relevance to performers.


List of Plates



1. Background of the Later Rubato

2. Background of the Ealier Rubato

3. The Earlier Rubato in Vocal Music

4. The Earlier Rubato in Violin Music

5. Both Types of Rubato in Keyboard Music

6. Haydn, Mozart, and Beethoven

7. Chopin

8. Contemporaries of Chopin

9. The Later Romantic Rubato

10. The Modern Rubato

11. The Future of Rubato




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