I don't think you've misunderstood this at all.  Yes, it's off topic,
but I'll gladly pay the OT fine.

EVERYBODY plays with a heavy musical accent (pun not intended.)  It's
call interpretation.  With the exception of truly iconoclastic
interpreters, interpretations tend to cluster together in groups of
minimal variation.  You could call them "dialects" or, less charitably,
"fads."  Its not surprising that this is so when you consider how
musical pedagogy has worked in the 19th & 20th centuries.  And again,
it's not surprising that there would be a nationalistic element to
this.

But do you have to be Hungarian to be able to REALLY play Bartok?  Or
French to be able to REALLY play Satie?  Of course not.  If you did,
then you'd have to be a, what -- 300 year old Lower Saxon to REALLY be
able to play Bach.

There is no REALLY right way, period.  And then there is taste.  And,
as we all know, there is no arguing with taste, or about taste, if you
prefer.

Early Music practitioners gave up on the term "authentic" many years
ago precisely because of this philosophic problem.  The term of art
these days is "Historically Informed Performance Practice" a.k.a. "HIP"
performances...no more claims of "authenticity".

I was in Budapest a few years ago and listened to a concert of baroque
music performed by some of Hungary's best young string players.  It was
totally like getting caught in a time warp:  they played like "modern"
western European and good American ensembles used to play baroque music
back in the 1960s: heavy vibrato, "terraced" dynamics,  minimal rubato,
no metric accent, etc.  Not a "HIP" performance in the least.  And yet
I found the performance totally enjoyable.

So, for me, the lesson is not only about the empathy and emotional
connection between the musician and the music, but also about the
empathy and emotional connection between the listener and the musician,
too.


-- 
gharris999
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