Incorporating 19th century performance devices while playing 19th century music was traced in varying degrees. Results suggest an extensive blend of stylistic approaches among currently active violinists, putting into question the relevance of the traditional distinction made between HIP and MS performance styles when it comes to current performance vogue. Unlike most previous research, it focuses on recordings made to 19th century repertoire, thus enlarging the spectrum to include performance analysis of a relatively untouched field and enabling examination of the degree and manner of incorporating 19th century performance attributes (e.g., utilization of rhythmic unevenness, portamento or harmonics) into contemporary praxis. It aims to explore the most current trends in early 21st century violin performance practices and identify the impact of HIP principles on the new generation of players. This paper examines contemporary violin recordings made in recent decades (1999–2017). Bach’s sonatas and partitas for solo violin. However, compared to the considerable amount of research conducted on 20th century playing, studies focusing on 21st century violin performances are still quite limited, and are mostly based on recordings of J. Findings such as the limited use of vibrato in early recordings, the relative stabilization of tempo and rhythm characteristic of mid-20th century violin playing, or the effect of ‘historically informed performance’ (HIP) on ‘mainstream’ (MS) violinists performing early music repertoire, are fundamental in the identification of prevailing norms of practice and changes of style that have occurred over time. The study of violin recordings as evidence of interpretation and performance approach has been quite extensive throughout recent decades. 2Department of Music, Bar-Ilan University, Ramat Gan, Israel.1Faculty of Music Education, Levinsky College of Education, Tel Aviv, Israel.
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