Martyn:
Apparently, you mistake me for someone who disagrees. I am however
burning with curiosity to learn from you what early audiences expected.
RA
__________________________________________________________________
Date: Sat, 2 Jul 2011 12:10:10 +0100
From: [email protected]
Subject: Re: [LUTE] Re: What's the point to 'historical sound'
To: [email protected]; [email protected]
All this is no excuse to ignore what evidence there actually is about
what early composers, and their audiences, expected.
--- On Sat, 2/7/11, Ron Andrico <[email protected]> wrote:
From: Ron Andrico <[email protected]>
Subject: [LUTE] Re: What's the point to 'historical sound'
To: [email protected], [email protected]
Date: Saturday, 2 July, 2011, 11:55
To Martyn & All:
My point is, while we may try to recreate sounds of the past, we are
constrained by the parameters of the present. Echoing Arto's idea,
the
'truth' of what we hear is here and now. I would prefer to immerse
myself in the contextual evidence and damn the realities of modern
performing constraints - except I like playing on strings that are
possible to tune.
Ron Andrico
> Date: Sat, 2 Jul 2011 08:27:07 +0100
> To: [1][email protected]
> From: [2][email protected]
> Subject: [LUTE] What's the point to 'historical sound'
>
>
>
> Ron Andrico writes: 'This whole archlute episode brings up an
> important point: At some point, we have to admit that we are not
trying
> to re-create an historical sound.'
>
> There are a number of difficulties with this view of which the
> principal is that the original composer created the work with
> particular sounds in mind (tho' of course this might vary so that,
for
> example, pieces could sometimes be rescored to better fit local
> conditions). Who are we to say the composer was wrong?
>
> The whole thrust of 'period performance' is to try and escape from
the
> blinkered cavalier (self-centred) approach adopted in the early
years
> of the movement and to focus on trying to achieve something closer
to
> what the 'Old Ones' might actually have heard. Personally I'd draw
the
> line at castrati - but accidents can happen.......
>
> MH
>
> MH
>
>
>
>
> --
>
>
> To get on or off this list see list information at
> [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
--
References
1. http://uk.mc263.mail.yahoo.com/mc/[email protected]
2. http://uk.mc263.mail.yahoo.com/mc/[email protected]
3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
