Professor Clive Brown

Profile

Principal academic posts have been at Oxford (1980–91) and Leeds universities. Research interests include Classical and Romantic performing practice, historical violin playing, scholarly editing,18th- and 19th-century German music, early Romantic opera, Anton Eberl, Beethoven, Spohr, Mendelssohn, Ferdinand David, Brahms, Elgar. 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 was a member of the Faculty of Music and lecturer at Queen's and Brasenose Colleges between 1980 and 1991. After a period of freelance work, concert planning both for the South Bank Centre, London and the Official Edinburgh Festival, he accepted a post at Bretton Hall, College of the University of Leeds. There he has served as Head of School (1997–2002) and after the merger with the Department of Music on the Leeds campus, Director of Research (2003–5) and then Head of School (2006-9) of the newly formed School of Music at the University of Leeds.

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. He is regularly invited to direct historical performance workshops and give guest lectures at universities and conservatories internationally; since 1997 in Germany (Berlin, Leipzig, Carlsruhe), Austria (Vienna), Switzerland (Bern, Lucerne, Basel), Netherlands (Utrecht), Belgium (Brussels), Spain (Barcelona, Alcala, Seville), Italy (Venice, Cremona, Padua, La Spezia), USA (Washington D.C., Stanford Ca.), Australia (Sydney).

Principal publications

• Louis Spohr, A Critical Biography, (Cambridge, Cambridge University Press, 1984) pp. 364 (German translation as:Louis Spohr: Eine kritischer Biographie(Kassel, 2009))
• Classical and Romantic Performing Practice 1750–1900 (Oxford, OUP, 1999) pp. 662 (Chinese translation as:1750–1900 (Taipei, 2012))
• A Portrait of Mendelssohn (New Haven and London, YaleUniversity Press, 2003) ISBN 0-300-09539-2. pp. xxxiii + 551
• Selected Works of Louis Spohr,10 volumes, edited with introductions(New York, Garland Publishing, 1987-90) pp. 3809 (of which 3674 are music)
• L. van Beethoven, Choral Fantasia op. 80 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Hrtel, 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 Hrtel, 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 Hrtel, 2001) pp. viii and 79 (of which 71 are music)
• Beethoven, First Symphony op. 21 (a critical edition of the full score with notes on sources and performing practice), (Wiesbaden, Breitkopf und Hrtel, 2004) pp. viii and 60 (of which 52 are music)
• Franz Clement, Violin Concerto in D (1805), with cadenzas by Clive Brown (A-R Editions, 2005) pp xiv and 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 Joachims cadenza by Clive Brown (Brenreiter, 2006). I: Full score, Preface pp. iii-xxxvi and score pp. 1–101. II Piano reduction, Preface pp. iii-xix and score pp. 2–48. III Urtext solo part pp. 1–19 and solo part after Joachims revised edition of 1905 pp. 1–19. IV Critical Commentary
• Elgar, Music for Violin Elgar Complete Edition vol. 37 (Rickmansworth, Elgar Society Edition, 2007) xxvi and 325 (of which 232 are music) (preface and commentary comprise 46,544 words)
• Felix Mendelssohn-Bartholdy, Die Hochzeit des Camacho Fassung letzter Hand nach dem gedrucketen Klavierauszug von 1828, 3 vols, (Breitkopf und Hrtel, 2011). Vols. I-II pp. i-x and 564, vol. 3 pp. 26.
• Beethoven, Violin Concerto (Wiesbaden, Breitkopf und Hrtel, 2012). I: Full score, Preface pp. iii-xx, Score pp. 1–76, critical commentary pp. 77–94. II Piano reduction, Preface pp. 3–19 and score pp. 20–67. III Urtext solo part pp. 1–20 and solo part with historically-informed fingering and bowing by the editor, score pp. 1–22 and commentary pp. 23–28.
• Historical performing practice (especially late eighteenth and nineteenth centuries)
• German Romanticism
• late eighteenth- and early nineteenth-century opera
• scholarly editing

Research postgraduate supervision only.

<h4>Research projects</h4> <p>Any research projects I'm currently working on will be listed below. Our list of all <a href="https://ahc.leeds.ac.uk/dir/research-projects">research projects</a> allows you to view and search the full list of projects in the faculty.</p>