In our age of historical performance practice, with its emphasis on period instruments, original sources, and «composer’s intentions,» we tend to forget that the nineteenth century - the Age of Historicism - took an equally strong interest in the music of the past. Wagner produced modern performance versions not only of Gluck (Iphigénie en Aulide, 1846-7) but of Palestrina’s Stabat mater (1848); Berlioz curiously transmuted a harpsichord piece from François Couperin’s 18e Ordre for three women’s...