Foreword |
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ix | |
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Preface |
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xi | |
Chronology |
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xv | |
Part I: Selected Reviews and Interviews |
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Introducing Anthony Newman |
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3 | (2) |
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Anthony Newman, Harpsichord |
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5 | (2) |
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Glenn Gould: The Well-Tempered Clavier Anthony Newman: The Goldberg Variations |
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7 | (2) |
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Brandenburgs for the Underground |
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9 | (4) |
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Anthony Newman, Organist and Harpsichordist |
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13 | (2) |
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Anthony Newman: Renaissance Man of the Classical Keyboard |
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15 | (6) |
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The Bent Is Baroque, but Classical Artist Has Contemporary Opinions |
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21 | (4) |
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Anthony Newman Comes of Age |
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25 | (10) |
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Bach: Goldberg Variations, Anthony Newman, Harpsichord |
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35 | (2) |
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37 | (6) |
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Anthony Newman: A Controversial Harpsichordist Charges forward into the Past |
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43 | (8) |
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Part II: Personal Reflections |
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My Time with Anthony Newman |
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51 | (6) |
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57 | (2) |
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59 | (4) |
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63 | (14) |
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Working with Anthony Newman |
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77 | (2) |
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79 | (4) |
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Newmanian Performance Practice |
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83 | (8) |
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Part III: Words and Music |
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The Twentieth-Century Performer as Interpreter of the Baroque Tradition |
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91 | (2) |
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Problems of Biases and Drawing Conclusions |
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93 | (6) |
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Establishing a Theory for Strong and Weak Measures |
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99 | (8) |
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Bach and the Baroque: Conclusion |
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107 | (2) |
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Bach: His Prelude in B minor |
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109 | (26) |
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Rhythmic Alteration: Prelude in B minor, BWV 544 |
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135 | (30) |
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Ornamentation: Fugue in F major, BWV 540 |
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165 | (28) |
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Articulation: Sonata No. 1, BWV 525 |
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193 | (20) |
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On the Healing Power of Music |
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213 | (30) |
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Excerpts from How Music Is Composed |
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243 | (8) |
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Appendix A - Repertoire |
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251 | (3) |
Appendix B - Discography |
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254 | (13) |
Appendix C - Compositions |
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267 | (4) |
Appendix D - Publications |
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271 | (2) |
Bibliography |
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273 | (4) |
Index |
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277 | (10) |
About the Editor |
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287 | |