One dominant issue in the writing of music histories is the question of how (or indeed whether) a musician's life and work can be interwoven convincingly. In recent years, music biographers have begun to reassess the historical legacies of many significant musicians with this issue in mind, but their critical reflections have for the most part focused on composers. This article seeks to transfer some of this rethinking – particularly on the life/work question – to the twentieth-century classical performer. Doing so reveals a historiography of the performer which sharply divides life and work in a way that is disciplinarily entrenched between biographical approaches on the one hand and empirical approaches to recordings on the other. After illustrating the nature and development of this division, I conclude by calling for greater scholarly convergence and suggest two directions forward, taking leads from artistic research and popular music studies in doing so.

中文翻译：

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二十世纪古典表演者的史学：生活、工作、艺术

音乐史写作中的一个主要问题是音乐家的生活和工作如何（或实际上是否）可以令人信服地交织在一起的问题。近年来，音乐传记作家开始重新评估许多重要音乐家的历史遗产，考虑到这个问题，但他们的批判性反思大部分集中在作曲家身上。本文试图将这种重新思考——尤其是关于生活/工作问题——转移到 20 世纪的古典表演者身上。这样做揭示了一种表演者的历史编纂，它以一种严格区分生活和工作的方式，一方面是在传记方法和另一方面对录音的经验方法之间根深蒂固。在说明了这个部门的性质和发展之后，