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Simon Trezise
Associate Professor/Head of Music, Music

Publications and Further Research Outputs

Peer-Reviewed Publications

Simon Trezise, Cambridge Companion to French Music, Cambridge, Cambridge University Press, 2014 Book, 2014

The recorded document: interpretation and discography in, editor(s)Eric Clarke Nicholas Cook Daniel Leech-Wilkinson John Rink , The Cambridge Companion to Recorded Music, Cambridge, Cambridge University Press, 2009, [Simon Trezise] Book Chapter, 2009

Simon Trezise, Elgar's recordings, Nineteenth-Century Music Review, 5, 2008 Journal Article, 2008

Distortions and Makes: Transmutations in the 'Performing Breath' in the Studio Take in, editor(s)Mine Dogantan-Dack , Recorded Music: Philosophical and Critical Reflections, London, Middlesex University Press, 2008, [Simon Trezise] Book Chapter, 2008

Simon Trezise, The Mapleson Cylinders, The Wagner Journal, 2, 2008 Journal Article, 2008

Simon Trezise, Cambridge Companion to Debussy, Cambridge, Cambridge University Press, 2003 Book, 2003

Debussy's 'rhythmicised time' in, editor(s)Simon Trezise , Cambridge Companion to Debussy, Cambridge, Cambridge University Press, 2003, [Simon Trezise] Book Chapter, 2003

Simon Trezise, Debussy: La mer, Cambridge, Cambridge University Press, 1994 Book, 1994

Non-Peer-Reviewed Publications

Three outstanding composer-conductors from the United Kingdom: Benjamin Britten, Edward Elgar, Hamilton Harty in, editor(s)Alexander Drcar Wolfgang Gratzer , Komponieren & Diriigieren: Doppelbegabungen als Thema der Interpretationsgeschichte, Freiburg im Breisgau, Rombach, 2017, pp313 - 326, [Simon Trezise] Book Chapter, 2017 URL

Research Expertise

Projects

  • Title
    • 'The Philadelphia Orchestra and the role of the conductor' (working title only)
  • Summary
    • Eugene Ormandy took over the principal conductorship of the Philadelphia Orchestra from Leopold Stokowski in the late 1930s. Whilst Ormandy's style of conducting was different to Stokowski's (in the early days he was regarded as a specialists in the Viennese classics, Stokowski on the other hand was famous for romantic and modern repertoire), the repertoire he undertook and the sound he often achieved have many parallels with Stokowski's. In spite of Ormandy's professed admiration for Toscanini and determination to model his performances on those of the Italian, the result of his conducting -- enshrined in myriad studio recordings, and live recordings mostly held at the University of Pennsylvania (and not distributed commercially) -- suggests a broader attachment to what might be loosely termed the 'Philadelphia sound', which brings Ormandy intimately into Stokowski's interpretative domain (Stokowski had little in common with Toscanini and professed to dislike his interpretations). This broad description encompasses a great range of expressive nuance, which can be determined by detailed analysis of recordings and the many annotated scores of the two conductors, which are held at the University of Pennsylvania. Methodology will include detailed study of performance gesture in their recordings, based, when possible, on spectral views of the wave forms of recordings, and when this is not possible (i.e. in copyright-protected live recordings) by mapping of tempo and observational data obtained by close listening and comparison with other performances. Such close study of an orchestra, an orchestral sound, and two conductors (put in context and compared with other conductors of the period and later) closely associated with the orchestra, has not been carried out before. The project will therefore be an original contribution to the burgeoning field of musical-performance studies and will add both to our knowledge of a great orchestra and its conductors, and to the methodologies deployed in obtaining accurate and therefore verifiable data in support of claims that might hitherto have been largely subjective. The primary means whereby this will be achieved lies in the quantification and development of the concept of 'performance gesture', which is a synthesis of tempo, timbre, rhythmic nuance, agogic accent, articulation such as portamento, and other parameters. The work can only be carried out in Philadelphia on account of the extensive holdings of the University of Pennsylvania (and analogous holdings in New York).
  • Funding Agency
    • American Philosophical Society, Long Room Hub, Taylor Bequest
  • Date From
    • 2007
  • Date To
    • 2011-12

Keywords

Debussy; Historical recordings; Music analysis; Music and text; Performance practice; Wagner