What a huge subject! But I'll bite... First, it's important to know what you mean by "interpretation." If you are speaking from the standpoint of the listener, that's one thing, but if from the standpoint of the performer, it's another altogether. In one case, you are trying to understand how to perform the music effectively, and in the other, how to receive it effectively. Both, of course, are important contributions to the music itself. In either case, there are just too many resources for me to list many effectively, but I'll try to get you started. From the standpoint of the performer, your best first step would be to visit a library at a college with a good music program. If you are not in range of such a library, then stop by the reference section of your local public library and ask about inter-library loans. Fact is, you can get pretty much anything if you ask (I was able to get 300-year-old manuscript facsimiles from dusty European libraries in Dresden and Venice sent to Boston; how? by asking). First, go to a good music dictionary, like the New Grove Dictionary of Music and Musicians, and look up the listing on "Performance Practice." Aside from having a goodly article itself, it will give you an exhaustive bibliography of sources. Many will be in foreign languages, but don't let that trip you up. You'll find many general publications as well as others specific to individual musical syles and instruments. You can also find "the Journal of Performance Practice." Issues of this periodical will contain articles on even more specific challenges in interpretation. One classic title to get you started: "The Interpretation of Music" by Thurston Dart. It's out of date, now, but still good. Now, if you're talking about interpretation from the listener's standpoint, there are any number of good music appreciation texts out there. In my classes, I use "The Enjoyment of Music" by Joseph Machlis and Kristine Forney (she really wrote it; he's been dead for years, but his name still sells). There are others by Kamien, Yudkin (a great guy!), Kerman, Wright and others. They are available in various editions, and I would actually suggest buying them used from the various online sources for college textbooks. The reason for recommending buying in stead of borrowing is that these books can be gotten with companion CD sets, which form a good basic classical music library. The shorter version of the Machlis and Forney, for instance comes with a four-CD set with over 80 great recordings of great works. Even if you bought this book new for $100, this is still a good deal compared to trying to compile all this music on seperate CDs. Be careful in your purchase, though, that you are getting everything you expect. Buying textbook bundles used and online can be touchy business (or actually, not touchy: if you could TOUCH the book, you'd know what you were getting!). And in either case, I'd be remiss if I didn't recommend getting some more or less formal education on the subject. One great way to learn to interpret and enjoy music from the listener's standpoint is to go to concerts. Especially if you live in an urban area, you can get a group together (perhaps you can find one or more people who are already knowlegeable on the topic) and find any of the free concerts that are offered by the music programs of any music school or community performing organizations. Try to catch pre-concert lectures and things, and afterwards, hang out and discuss what you've heard. Don't neglect the idea of taking a music appreciation class, either. Most colleges and adult education programs offer them. And from the standpoint of the performer, one of the best ways to go, of course, is to get with a good, knowledgeable teacher and/or ensemble director. Most important, HAVE FUN! -EdM.

This is how I find information about classical music interpretation: l. I look for a list of classical composers I want to study to interprete a specific work. 1. For example: Beethoven. 2. I also read about the classical period and how society was during the 1740-1810, Germany and Austria. 3. Then I look at the list of works Beethoven composed. Let's say, The Moonlight Sonata. 4. Next I look for free scores or sheet music available on line. 5. I look for a few recordings of how pianists play the music.(same place) Conclusion: I have given you all the resources you can find on line, however, the best places to find information are to talk to real people who are trained musicians. Some of the teachers they have studied under can be traced all the way to fine composers. I've known teachers whose lineage stemmed from Liszt!

A useful site might be: http://www.talkclassical.com