School of Music, University of Leeds

Clive Brown

Professor of Applied Musicology

c.brown@leeds.ac.uk

0113 343 8220

MA (Cantab.), MA, DPhil (Oxon.)

Clive Brown read History at Emmanuel College, Cambridge and following graduation in 1969 stayed on to take part 2 of the Music Tripos. After a period teaching music and performing as a violinist, he turned to research, gaining his D. Phil in 1980 at Oxford, where he lectured until 1991. He has published widely on 18th- and 19th-century topics, particularly performing practice, and remains active as a concert violinist specialising in the historically-informed performance of Classical and Romantic music.

Books (single authored)

Louis Spohr, A Critical Biography, (Cambridge, Cambridge University Press, 1984) pp. 364
Die Neubewertung der Quellen von Beethovens Fünfte Symphonie/A New Appraisal of the Sources of Beethoven's Fifth Symphony (Wiesbaden, Breitkopf und Härtel, 1996) pp. 104
Classical and Romantic Performing Practice 1750-1900 (Oxford, OUP, 1999) pp. 662
A Portrait of Mendelssohn (New Haven and London, Yale University Press, 2003) pp. 551

Contributions to books and conference proceedings

'Spohrs Popularität in England', ed. Herfried Homburg and Reiner Krempien, Louis Spohr: Festschrift zum 200. Geburtstag, (Kassel, Georg Wenderoth Verlag, 1984) pp. 105-116
'Performing practice', ed. Stewart Spencer and Barry Millington, Wagner in Performance, (New Haven and London, Yale University Press, 1992) pp. 99-119
'Ferdinand David's editions of Beethoven', ed. Robin Stowell, Performing Beethoven, (Cambridge, Cambridge University Press, 1994) pp.117-149
'String playing practices in the Classical orchestra', ed. Peter Riedemeister, Basler Jahrbuch für historische Musikpraxis xvii (1993), (Basel, Amadeus Verlag, 1994) pp. 41-64
'Weber and Spohr', ed. D. Kern Holoman, The Nineteenth-century Symphony, in the series Studies in Musical Genres and Repertories, gen. ed. Larry R. Todd, (New York, Schirmer, 1997) pp. 17-42
'The Chamber Music of Spohr and Weber', ed. Stephen E. Hefling, Nineteenth-century chamber music, in the series Studies in Musical Genres and Repertoires, gen. ed. Larry R. Todd, (New York, Schirmer, 1998) pp. 140-169
'Schubert's Tempo Conventions', ed. Brian Newbould, Schubert Studies, (Aldershot, Ashgate, 1998) pp. 1-15
‘On “Exactly what is Written”’, ed. A. Latham and R. Parker, Verdi in Performance (Oxford, OUP, 2001), pp 81-3
‘Notation and Interpretation’, ed. A. Burton, A Performer’s Guide to Music of the Romantic Period (London, ABRSM, 2002)
‘Joseph Joachim and the performance of Brahms’s string music’, ed. Michael Musgrave and Bernard Sherman, Performing Brahms (Cambridge, CUP, 2003)
‘Nineteenth-century notation: appearance and meaning’, ed Paulo Cecchi and Luca Zoppelli, Il Teatro di Donizetti: II Percorsi e Proposte di Ricerca, Venezia 22-24 Maggio 1997 (Bergamo, Fondazione Donizetti, 2004) pp. 87-100
Clive Brown and David Milsom, ‘The 19th-Century Legacy of the Viotti School: Editions of the Violin Concerto No. 22’, ed. Massimiliano Sala, Giovanni Battista, Viotti: A Composer Between Two Revolutions (Bologna, Ut Orpheus, Edizioni, 2006), 157-198
Forthcoming: ‘The Performance of Mendelssohn’s Chamber and Solo Music for Violin’, ed. S. Reichwald Mendelssohn Performance Studies (Indiana University Press, 2007)
Forthcoming: ‘Leopold Mozart and the Performance of W. A. Mozart’s Music for Strings’ ed. Thomas Steiner Cordes et claviers au temps de Mozart. Actes des Rencontres Internationales harmoniques, Lausanne 2006
Forthcoming: ‘Singing and string playing in comparison: instructions for the technical and artistic employment of portamento and vibrato in Charles de Bériot’s Méthode de violon’, ed. Claudio Bacciagaluppi, Roman Brotbeck und Anselm Gerhard, Zwischen >schöpferischer Individualität< und >künstlerischer Selbstverleugnung<: Zur musikalischen Aufführungspraxis im 19. Jahrhundert, Bericht des Symposiums in Bern, 14.-16.12.2005, Musikforschung der Hochschule der Künste Bern, Band 2 (Schliengen: Argus, 2008)
Forthcoming: ‘Performing Classical repertoire: the unbridgeable gulf between contemporary practice and historical reality’, ed. Dagmar Hoffmann-Axthelm, Basler Jahrbuch für historische Musikpraxis xxxi(2007)

Periodical articles

'Spohr's Jessonda', The Musical Times, cxxi (1980), 94-97
'Spohr, Faust and Leitmotif', The Musical Times, cxxv (1984), 25-27
'Teutonic Genius', The Listener, cix (March 1984), 36
'Schubert's Fierrabras: an unknown masterpiece', Opera, xxxvii(Feb.1986), 130-133
'Bowing Styles, Vibrato and Portamento in Nineteenth-century Violin Playing', Journal of the Royal Musical Association cxiii/1 (1988), 97-128
'Conducting Beethoven', The Listener cxx(Sept.1988), 36-37
'Perspectives on Beethoven', The Musical Times, cxxix(Sept.1988), 448-452
'The Orchestra in Beethoven's Vienna', Early Music xvi/1(1988), 4-20
'Historical performance, metronome marks and tempo in Beethoven's Symphonies', Early Music, xix/2(1991), 247-258
'Dots and strokes in late 18th- and 19th-century music', Early Music, xxi/4(1993), 593-610.
'Buried Treasures [Schubert's operas]', BBC Music Magazine special issue Schubert - His Life - His Work - His World (London, 1999), 50-53
‘Spohr’s Musical Style and its influence on Nineteenth-Century English Composers’, The National Arts Education Archive Occasional Papers in the Arts and Education, ed. T. Stephenson, viii(2000), 1-34
‘La ejecución violinística de Joachim y la interpretacíon de la música para instrumentos de cuerda de Brahms’, Quodlibet xxix(June, 2004), 30-73 (Spanish translation of chapter from Performing Brahms)
‘Louis Spohr: Forgotten Master of the 19th Century’ BBC Music Magazine March 2006, pp. 50-53

Contributions to encyclopaedias

'Abu Hassan' i, 7, 'Die beiden Pädagogen' i, 378-9, 'Die beiden Schützen' i, 379, 'Die drei Pintos' i, 1246, 'Euryanthe' ii, 88-90, 'Faust' ii, 130-1, 'Der Freischütz' ii, 296-9, 'Die Fürstin von Granada' ii, 317, 'Hans Sachs' ii, 643-4, 'Die Heimkehr aus der Fremde' ii, 686, 'Die Hochzeit von Camacho' ii, 728-9, 'Hummel' ii, 769 'Jessonda' ii, 895-6, 'Lindpaintner' ii 1282-3, 'Lobe' ii, 1299, 'Lortzing' iii, 48-51, 'Die lustigen Weiber von Windsor' iii, 99-100, 'Mendelssohn' iii, 329-31, 'Nicolai' iii, 595-6, 'Oberon' iii, 639-42, 'Peter Schmoll' iii, 982, 'Pietro von Abano' iii, 1010-11, 'Poissl' iii, 1041-2, 'Sechter' iv, 294, 'Silvana' iv, 378, 'Die Soldatenliebschaft' iv, 444, 'Spohr' iv, 479-81, 'Undine' iv 866, 'Der Vampyr' iv, 892, 'Der Waffenschmied' iv, 1052-3, 'Weber' iv, 1112-19, 'Der Wildschütz' iv, 1157-8, 'Zar und Zimmermann' iv, 1210-11, ed. Stanley Sadie, New Grove Dictionary of Opera, (London, Macmillan, 1992)
'Cornelius' pp. 227-9, 'Eberl' pp. 303-4, 'Goldmark' pp. 390-1, 'Hiller' p. 475, 'Hummel' pp. 490-1, 'C. Kreutzer' pp. 545-6, 'F. Lachner' p. 550, 'I. Lachner' p. 550, 'Lindpaintner' pp. 571-2, 'Mendelssohn' pp. 645-7 'Meyerbeer', pp. 657-65, 'Poissl' pp. 785-6, 'Reissiger' p. 856, 'G. A. Schneider' p. 950, 'Schubert' pp. 962-7, 'Schumann' pp. 967-9, 'Spohr' pp. 1000-2, 'Weber' pp. 1210-16, ed. Amanda Holden, Nicholas Kenyon and Stephen Walsh, The Viking Opera Guide (London, Penguin Books 1993)
(with Mathias Spohr), 'Spohr: Faust ' ed. Carl Dahlhaus Pipers Enzyklopädie des Musiktheaters vol. 5, (Munich and Zürich, Piper, 1994) pp. 756-758
‘Absetzen’, ‘Abstossen’, ‘Articulation marks’, ‘Aufheben’, ‘Dash’, ‘Leader’, ‘Lindpaintner’, ‘Ornaments §9: Late 18th century and the 19th and §10: 20th century’, ‘Poissl’, ‘Rode’ ‘Spohr’, ‘Staccato’ (with G. Chew), ed. Stanley Sadie The New Grove Dictionary of Music and Musicians 2nd edn (London, 2001)
‘Bache’, ‘Balfe’, ‘Barnett J.’, ‘Barnett J. F.’, ‘Benedict’, ‘Bexfield’, ‘Bishop’, ‘Hatton’, ‘Havergall’, ‘Horn’, Horsley C. E.’, ‘Horsley W.’,‘Jackson’, ‘Joachim’, ‘Loder’, ‘Macfarren G. A.’, ‘Macfarren W. C.’ ‘Pearsall’, ‘Pierson’, ‘Pinto’, ‘Spohr’, ‘Wade’, ‘Wallace’ The New Dictionary of National Biography (Oxford, 2002)
‘Anton Eberl’, ‘Fanny Mendelssohn’, ‘Louis Spohr’, ‘Peter v. Winter’ ed. A Latham The Oxford Companion to Music (Oxford, OUP, 2002)

Reviews

Max Thöner (ed.), Louis Spohr, Neue Auswahl der Werke, viii (Tutzing, 1983), Music and Letters lxv/2(1984), 204-205
Boris Schwarz, Great Masters of the Violin (London, 1984), Music and Letters lxvi/3(1985), 250
Anna Mischakoff, Khandoshkin and the beginning of Russian String Music 'Russian Music Studies', ix (Ann Arbor, 1983), Music and Letters lxvi/4(1985), 385-386
Jon W. Finson & R. Larry Todd, Mendelssohn and Schumann: Essays on their Music and its Context (Durham, N.C.,1984), Music and Letters lxvii/2(1986), 179-180
Dorothy Veinus Hagan, Felicien David, 1810-1876: a Composer and a Cause (Syracuse, N.Y., 1985), Music and Letters lxvii/3(1986), 307
Robin Stowell, Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (Cambridge, 1985), Music and Letters lxviii/1(1987), 68-69
Maria Rosa Moretti & Anna Sorrento (ed.), Catalogo thematico delle musiche di Niccolò Paganini (Genoa, 1982), Music and Letters lxix/1(1988), 88
Rudolf Elvers (ed.), Craig Tomlinson (trans.), Felix Mendelssohn: a Life in Letters (New York,1986), Music and Letters lxix/1(1988), 88-89
Marcia J.Citron (ed.& trans.), The Letters of Fanny Hensel to Felix Mendelssohn (Stuyvesant, N.Y., 1987), The Musical Times cxxix(1988), 187
Folker Göthel, Thematisch-bibliographisches Verzeichnis der Werke von Louis Spohr (Tutzing,1981), Music and Letters lxix/3(1988), 389-390
'Joseph Haydn [Five recordings of Haydn Symphonies on period instruments]', Early Music xviii/3(August 1990), 483-6
Elliott W.Galkin, A History of Orchestral Conducting (New York, 1986), Journal of Musicological Research xi(1991), 139-141
Andreas Ballstaedt & Tobias Widmaier, Salonmusik: zur Geschichte und Funktion einer bügerlichen Musikpraxis (Stuttgart, 1989), Music and Letters lxxii/1(1991), 115-6
Willibald Leo Frh. v. Lütgendorf ed. and rev. Thomas Drescher, Die Geigen und Lautenmacher vol.3 (Tutzing, 1990), Music and Letters lxxii/1(1991), 93
Basil Smallman, The Piano Trio: its History, Technique, and Repertoire (Oxford, 1990), Music and Letters lxxii/4(1991), 606-609
Donald G.Henderson & Alice H.Henderson, Carl Maria von Weber: a guide to research (New York & London, 1990), Music and Letters lxxiii/3(1992), 465-466
Beethoven Symphonies 1 & 2, ed. Armin Raab, Beethovens Werke, I,i (Munich, Henle, 1994), Notes (Dec. 1997), 560-2
Haydn 'Nelson' Mass (cond. R. Hickox), Gramophone Early Music ii(1999), 107-8
Schubert Mass in E flat (cond. J. E. Gardiner), Gramophone Early Music ii(1999), 111
Haydn ‘Harmoniemesse’ (cond. N. Harnoncourt), Gramophone Early Music iii(1999-2000), 89-90
Haydn Symphonies Nos 53, 54, 61, 66, 67, 68, 69 (cond. C. Hogwood), Gramophone Early Music iii(1999-2000), 90-91
Haydn Masses (cond. R. Hickox), Gramophone Early Music iv(2000), 106
Beethoven Symphonies 1-9, ed. Jonathan Del Mar (Bärenreiter), Notes (June 2002), 911-15
Hugh Macdonald, Berlioz’s Orchestration Treatise (CUP), Journal of Musicological Research xxii/3(2003), 300-302
Brahms Klavierquintet ed. C. Debryn and M. Struck (Henle), Nineteenth-century Music Review i(2004), 203-5
Lewis Lockwood and Mark Kroll eds., The Beethoven Violin Sonatas: History, Criticism, Performance (Urbana and Chicago, University of Illinois Press, 2004), Early Music xxxiv(2006), 303-4
Richard Maunder The Scoring of Baroque Concertos (Boydell, 2004); Neal Zaslaw and John Spitzer, The Birth of the Orchestra (Oxford, OUP, 2004); Simon McVeigh and Jehoash Hirschberg, The Italian Solo Concerto (Boydell, 2004), Early Music Performer 20(2007), 25-7

Editions (critical & other)

Selected Works of Louis Spohr, (New York, Garland Publishing, 1987-90) pp. 3809 (of which 3674 are music)
10 volumes, edited with introductions as follows:
Operas
- 1) Faust (co-author J. Stracey)
- 2) Jessonda
- 3) Pietro von Abano
Oratorios
- 4) Die letzten Dinge
- 5) Des Heilands letzte Stunden
Orchestral
- 6) Three Symphonies
- 7) Three Violin Concertos
Vocal
- 8) The Complete Lieder Sets
Chamber Music
- 9) Chamber music for Strings (9 quartets, 2 quintets, sextet, 3 double quartets)
- 10) Chamber Music with Piano (4 trios, quintet)
L. van Beethoven: Choral Fantasia op. 80 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Härtel, 1993) pp. 70 (of which 62 are music)
C. M. v.Weber: Mass in E flat J. 224 and Offertorium J. 226 (a critical edition of the full score with notes on sources and performing practice), (London, Faber Music, 1993) pp. 115 (of which 105 are music)
L. van Beethoven: Fifth Symphony op. 67 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Härtel, 1996) pp. 119 (of which 103 are music)
Beethoven: Second Symphony op. 36 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Härtel, 2001) pp. 85 (of which 79 are music)
Franz Clement, Violin Concerto in D (1805), with cadenzas by Clive Brown (A-R Editions, 2005) pp xiv+182 (of which 177 are music)
Johannes Brahms: Violin Concerto op. 77 with cadenzas by Joachim, Halir, Heermann, Busoni and Auer, and two shortened versions of Joachim’s cadenza by Clive Brown (Bärenreiter, 2006). I: Full score, Preface pp. iii-xxxvi + score pp. 1-101. II Piano reduction, Preface pp. iii-xix + score pp. 2-48. III Urtext solo part pp. 1-19 and solo part after Joachim’s revised edition of 1905 pp. 1-19. IV Critical Commentary
Edward Elgar: Music for Violin, Elgar Complete Edition vol. 37 (Rickmansworth, Elgar Society Edition, 2007) pp. i-xxvi+325
Forthcoming: L. Van Beethoven, Violin Concerto Op. 61, Breitkopf und Härtel
Forthcoming: Mendelssohn: Die Hochzeit des Camacho in Leipziger Mendelssohn Ausgabe vol. V/5

Radio / TV broadcasts

BBC Radio 3 broadcast 'Performing Practice in Beethoven's Quartets' in Music Weekly, 9 & 10 October 1988
BBC Radio 3 broadcast 'New Light on Beethoven's Violin Concerto: Franz Clement's Violin Concerto in D of 1805' in Music Weekly, 7 & 8 May 1989
BBC Radio 3 broadcast 'What Made Beethoven's Music 'Difficult'?' in Music Weekly, 18 & 20 November 1990
BBC Radio 3 broadcast 'The Influence of Concerts on the Development of Music'; discussion with Cyril Ehrlich, Simon McVeigh and Susan Bradshaw, chaired by Michael Oliver, 23 June 1995
BBC Radio 3 broadcast 'The Cultural Politics of British Musical Life. The 19th Century: Music and Morals' in the 'Fairest Isle' series, 9 October 1995
BBC Radio 3 broadcast ‘The orchestra as instrument’ in Twenty Minutes, 25 January 2001
BBC Radio 3 broadcast ‘Queen Victoria’s love of music’ in Twenty Minutes, 2 February 2001
BBC Radio 3 ‘From Waldhorn to Wunderhorn’ in Twenty Minutes, 19 August 2002
BBC Radio 3 ‘Mendelssohn’ discussion with Larry Todd in Music Matters, 4 January 2004

Public Performances

Musical director and editor of performance material for the following productions of unknown or rare operas:
At the Oxford Playhouse (Oxford University Opera Club):
- Spohr Jessonda (1980; 20th-century British stage premiere)
- Haydn L'anima del filosofo (Orfeo) (1983)
- Schubert Fierrabras (1986; British stage premiere)
- Mendelssohn Die Hochzeit des Camacho (1987; probably 20th-century world premiere)
At Bretton Hall, College of the University of Leeds
- J. F. Lampe The Dragon of Wantley (1996)
- John Blow Venus and Adonis (1998); probably the first modern production of the composer's revised version.
- Anton Eberl Die Königin der schwarzen Inseln, The Queen of the Black Island, Eng. trans. Clive Brown (1999; the first known performance since 1801).
At Wakefield Theatre Royal and Opera House (with Bretton Hall staff and students):
- Franz Schubert Die Freunde von Salamanka, as The Friends from Salamanca, Eng. trans. and creation of lost dialogue by Clive Brown (2000); British premiere staging of the work.
- Johann Christian Bach Amadis de Gaule, Eng. trans. Clive Brown (2001; British premiere staging, the first modern production to be based on a critical study of the sources and to include the complete ballet music)
- John Frederick Lampe (libretto Henry Carey) Margery or a worse plague than the dragon, music for recitatives composed by Clive Brown (2002; probably the first production since the mid 18th century)
The following is a selection of my performances as solo violinist, using period instruments and applying historical knowledge about period performing practices in an innovative and experimental manner:
As a member of the Spohr Piano Trio (1986-89):
- Spohr: op. 123 and Dvorak: op. 80 at the Biennial International Conference on Nineteenth-century Music, University of Birmingham, 1986
- Beethoven: op. 1/3, Pleyel and Dussek at the Conference on Music during the Period of the French Revolution, University of Cardiff, 1989
- Beethoven: op. 1/3 and Schubert in E flat at the Staatsbibliothek preußische Kulturbesitz, Berlin in October 1989 (sponsored by the British Council)
As a member of a period instrument piano trio (with Neal Peres da Costa and Daniel Yeadon)
- Mendelssohn: op. 49 and Brahms: op. 101 at the Biennial International Conference on Nineteenth-century Music, University of Leeds, 2002
As a member of the Tost String Quartet:
- Haydn: op. 54/2 and Die sieben letzte Worte at the Purcell Room, South Bank, London in 1989
As soloist with the Cambridge Classical Orchestra, 1991-4
- Viotti: Violin Concerto in A minor No. 22
- Mozart:Violin Concerto No 3 in G major
- J.C. Bach: Concertante for violin, violoncello, oboe and piano
- Haydn: Concertante for violin, violoncello, oboe and bassoon
With Neal Peres Da Costa (piano) 1998-2001
- Violin sonatas and chamber music by Mozart, Eberl, Beethoven, Mendelssohn, Schumann, Gade and Brahms
Solo violin with Leeds Philharmonia, University of Leeds Great Hall, 23 November 2003
- Modern premiere of Franz Clement’s Violin Concerto in D major (in my critical edition, to be published by A-R editions)
With the LUCHIP Ensemble 2004-5
- Piano Quartets by Mozart, Eberl, Mendelssohn and Schumann
With Daniel Gordon (piano):
- Elgar violin music (including the Sonata op. 82): Leeds Concert Series 1994-5; University of Birmingham Elgar Conference, Stratford upon Avon, June 2005
With the LUCHIP Ensemble 2005-6
- String Quartets by Mozart K. 465 and Mendelssohn op. 44/3
- Beethoven ‘Archduke’ Trio op. 97 and ‘Kakadu’ Variations
- Mendelssohn String Quartet op. 44/3 and Beethoven ‘Archduke’ Trio (recreation of Musical Union Concert for RMA Research Students Conference (Jan. 2006))
With the LUCHIP Ensemble 2006-7
- Piano Trios: Schubert op. 100, Gade op. 42 and Mendelssohn op. 49
- String Sextets: Spohr op. 140 and Brahms op. 36

Keynote & invited lectures

Public Lecture: 'A new pair of ears'. For the opening of the Cheltenham International Festival 1989
Invited Lecture: 'Articulation Markings in Eighteenth- and Nineteenth-century Music', Royal Musical Association annual conference, Cambridge 1990
Invited Lecture: 'String Playing Practices in the Classical Orchestra', Symposium of the Schola Cantorum Basiliensis, Basel, Switzerland 1992
Public Lecture: 'Wagner's Orchestra' for Roger Norrington's and the South Bank Centre's Wagner Day at the Queen Elizabeth Hall 1994
Public Lecture: 'Opera in Mozart's Vienna' at the Queen Elizabeth Hall, London, in connection with a concert of excerpts from operas by Mozart and his Viennese contemporaries 1996
Invited Lecture: 'Performing Practice in Verdi', International Verdi Conference at the Royal Opera House, Covent Garden, London 1995
Invited Lecture: 'Nineteenth-century notation: appearance and meaning', Gaetano Donizetti ed il teatro musicale europeo: percorsi e proposte di ricerca, San Giorgio, Venice, Italy 1997
Invited Lecture: 'Ideal Editions and the Reality of Performing Practice', Annual Conference of the Conductors Guild, Washington D.C., USA 1998
Keynote Lecture: ‘Freedom and Fidelity in Nineteenth-Century Performance’, and period-instrument performance of Brahms G Major Violin Sonata with Neal Peres Da Costa, Symposium on the Performance of 19th-Century Music, Utrecht, Netherlands: August 2002 (as part of Utrecht Early Music Festival)
Director of Study Day: Stavanger Symphony Orchestra (Norway) 2002
Invited Guest Lecture: University of Bern (Switzerland) 2003
Visiting Professor: Norwegian Academy of Music, Oslo, January 14-19 2004
Visiting Professor: Escola Superior de Música de Catalunya, Barcelona, May 14-16 2004
Guest Lecturer: National Youth Orchestra of Great Britain (in preparation for their Albert Hall Prom with Sir Roger Norrington in August 2004).
Invited Lecture: ‘Gesang- und Streichertechnik im Vergleich’ at symposium on 19th-century performing practice ‘Zwischen “schöpferische Individualität” und “künstlerische Selbstverleugnung”: Zur musikalischen Aufführungspraxis im 19. Jahrhundert.’ Institut für Musikwissenschaft, University of Bern, and Hochschule der Künste, Bern, Switzerland, 14-17 December 2005
Invited Lecture: ‘Leopold Mozart’s Violinschule and the performance of W. A. Mozart’s violin music’ in Rencontres harmoniques internationales de Lausanne, Conservatoire de Lausanne and Musée Historique de Lausanne, Switzerland, 31 March-3 April 2006
Invited Lecture Series: ‘Tempo, Tempo Rubato and Rhythmic Gesture in Nineteenth-Century Performance’, Aula de Musica, University of Alcalá, Spain, 22-23 April 2006
Invited Lecture: ‘Mozart’s notation and its implications for performance’ and participation in round table on performing practice in Quinto seminario de Filologica musicale: Mozart 2006 Faculta delli Studi di Pavia, Cremona, Italy, 24-26 May 2006
Invited Lecture: ‘Treatises, editions and recordings as evidence of style and technique in nineteenth-century string playing’, at symposium ‘Zur Interpretationspraxis für Saiteninstrumente im 19. Jahrhundert’, Institut für Musikwissenschaft, University of Bern, and Hochschule der Künste, Bern, Switzerland, 18-19 November 2006
Invited Lecture: ‘Performing Classical repertoire: the unbridgeable gulf between contemporary practice and historical reality’ at the Schola Cantorum Basiliensis symposium ‘Wege zur Klassik’, 10-14 January 2007
Invited Lecture: ‘Joachim’s style of performance as reflected in his editions and other writings’ at Joseph Joachim (1831-1907) Europäischer Bürger, Komponist, Virtuose: Internationale Tagung anlässlich des 100. Todesjahres, Kittsee, Austria, 27-29 July 2007

Other

Consultant on performance texts and advisor/coach in performing practice for:
- Christopher Hogwood and the Academy of Ancient Music recordings of Beethoven's symphonies with period instruments (Decca, 1983-86)
- Sir Roger Norrington and the London Classical Players for recordings of Mozart, Haydn, Beethoven, Schubert, Mendelssohn, Schumann, Wagner etc. with period instruments (EMI, 1990-1995)
- Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique for their recordings of Beethoven's Fifth Symphony (Archiv DGG, 1994)
- The Eroica Quartet for performances and recordings of Beethoven, Mendelssohn, Schumann and Brahms
Designed and presented the South Bank's twelve-week series of concerts Beethoven Plus at the Festival Hall, Queen Elizabeth Hall and Purcell Room in 1989
Designed, presented and performed in Salieri, Friends, Enemies and Pupils, a programme of music (some previously never publicly performed) by Salieri, his well-known and less well-known contemporaries, for the (official) Edinburgh Festival