Bruce Haines is a must read regarding this issue (romantic, modern and
the Hip approach).
2013/12/19 Christopher Wilke <[1]chriswi...@yahoo.com>
This also fits in nicely with Richard Taruskin's often stated
thesis
that early music performance practice today is really a modern
fabrication that seeks to apply 20th (now 21st) century aesthetic
preferences to past music. Indeed, the technically clean,
vibrato-less,
metronomic, inexpressive character of many performances of early
music
nowadays seems to be an artistic reflection of mechanized
industrialization, assembly lines, and the repeatable,
homogenized
regularity of product made possible by the use of computers.
It would be too much of a stretch to suggest that the approach of
Segovia and contemporaries provides a model of early
interpretation
today, but one might be able to argue that, being older, some
aspects
of those aesthetic priorities were (un/subconsciously) closer to
the
spirit of earlier times than the modern performance dogma.
"Ah ha!" says the HIP Police Person, "But the Basel crew has
something
those bloated philistines of Segovia's generation never deigned
to
consider: we base every choice upon..."
(At this point the HIP Police Person raises eyes and hands to the
heavens. A ray of golden light shines down and a snippet of the
scholarly edition of Josquin's Missa "Di Dadi," sung by an
angelic
choir, is heard. Apollo on his chariot begins to descend but he
suddenly gets a call on his iPhone reminding him that he is
needed for
a baroque opera rehearsal in Stockholm.)
"...the SOURCES! Aaaaahhhhhh..." the HIP person sighs with
quasi-orgasmic relish.
To which I say: Read all the 19th century treatises you can.
Absorb
them. Many are written so clearly, you'll have be able to form a
perfect aural picture of how the music sounded. Then listen to
period
recordings. Suddenly no one is doing they're "supposed" to be
doing,
according to their own sources! The picture you formed was
filtered
through your own time, not theirs. How great must the gulf
between our
current intellectual comprehension and their actual practice be
for
music created in a pre-industrialized age, from which no recorded
artifact survives?
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
[2]www.christopherwilke.com
On Wednesday, December 18, 2013 6:46 PM, JarosAAaw Lipski
<[3]jaroslawlip...@wp.pl> wrote:
WiadomoAAAe napisana przez howard posner w dniu 18 gru 2013, o
godz.
23:10:
>
> On Dec 18, 2013, at 1:47 PM, Dan Winheld
<[1][4]dwinh...@lmi.net> wrote:
>
>> Is it just me, or is there not something ironic about a
serious
minded 21st century LUTE-list member finding a great 20th century
musical icon (think of him what one will otherwise) "outdated"?
>
> Not at all. Implicit in the whole early music movement is the
assumption that the mainstream classical approach to early music
was
outdated, including icons like Karajan, Stokowski, and yes,
Segovia.
Their approach was an early-to-mid-twentieth-century approach
that
became outdated when we learned better.
>
Sure, but we're not talking about Segovia's early music
interpretations.
To get on or off this list see list information at
[2][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:[6]dwinh...@lmi.net
2. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
Bruno Figueiredo
Pesquisador autonomo da pratica e interpretac,ao
historicamente informada no alaude e teorba.
Doutor em Praticas Interpretativas pela
Universidade Federal do Estado do Rio de Janeiro.
--
References
1. mailto:chriswi...@yahoo.com
2. http://www.christopherwilke.com/
3. mailto:jaroslawlip...@wp.pl
4. mailto:dwinh...@lmi.net
5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
6. mailto:dwinh...@lmi.net
7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
