ABSTRACT
The analysis of historical performance practice—the focus on period instruments, playing styles, and aesthetic ideas—is nowadays a standard part of musical training. What aren’t taken into consideration are the contexts that “classical” music was performed in at different locations throughout history. These aspects should also be an integral part of the study of historical performance practice. What was the size of the room and how was it arranged? Were there curtains, was the furniture upholstered, were there carpets? What were the acoustic conditions and how was the lighting? One essential factor for the relationship between performers and audience is the spatial proximity; another is the program dramaturgy, which reflects not only commercial interests but also the image of the individual artist. Furthermore, the role of music in constructing social identity and gender is an essential feature of historical performance practice. Taking examples from the nineteenth century, these and other aspects will be discussed here.
