Begin forwarded message:
> From: STEPHEN DOUGLASS <[email protected]> > Date: April 14, 2009 4:25:05 PM EDT > To: Paul Gretton <[email protected]> > Subject: Re: [NSP] Re: Re:Styles > > Paul, > > In the 1926 recording of Elgar's Enigma by the Royal Albert Hall > Orchestra ,conducted by the composer himself, there is audible > sliding (portamento) on the strings. > > In Simon Rattles recording in 1993 with the City Of Birmingham > Symphony Orchestra the portamento is gone(or negligible). Many > critics favour this version. > > By the mid 1930's, after Elgar's death, orchestras were moving away > from that style. It would be unusual now, to hear an orchestra play > with the same amount of slide. > > That would suggest a change of style in the same, genre, context > and repertoire? and also asks questions about sticking to composers > intentions. > > There may be a return to the previous style, but at the time the > progression would have been considered innovative. > > Steve Douglass > > > On Apr 14, 2009, at 8:26 AM, Paul Gretton wrote: > >> Chirs wrote: >> >>>> Why should NSP be the only instrument restricted to a single style? >> >> The "should" is not a matter of authoritarian compulsion or hidebound >> conservatism but of appropriateness. Unlike the violin, the NSP >> has until >> very recently been associated with a very specific repertoire, the >> core of >> which is bound up with the structure of the instrument -- a sort of >> chicken/egg situation. As I said in reply to David, the problem >> with wild >> do-your-own-thing innovation is that the innovative style takes >> over and the >> traditional style is then lost. >> >>>> Kreisler any one? >>>> Or Stuff Smith? >>>> Or Andrew Manze? >>>> Didier Lockwood? >>>> Gatemouth? >>>> Grappelly? >>>> Itzhak Perlman? >>>> Willie Taylor? >> >>>> I wish I knew who was playing properly... >> >> It's confusing to speak of "style" here. All those people play the >> violin >> but they play different ***repertoires*** without overlap between >> them (with >> a couple of exceptions). Those repertoires require a certain "style >> bandwidth" if they are to be true to the nature of the music. >> >> I doubt if Manze would tackle the Tchaikovsky concerto on his >> baroque violin >> and in baroque style. Perlman, however, would probalby tackle a >> Handel or >> Corelli sonata, with IMHO dire results that distort the nature of >> the music. >> >> Or -- since you're about to become an opera buff :-) -- I would >> prefer to >> hear Isolde sung by Flagstad or Nilsson rather than by Emma >> Kirkby! (and >> vice versa for Rameau or Lully) >> >> Cheers, >> >> Paul Gretton >> >> >> >> -----Original Message----- >> From: [email protected] >> [mailto:[email protected]] >> >> Sent: 14 April 2009 10:51 >> To: [email protected]; [email protected] >> Cc: [email protected]; [email protected]; >> [email protected] >> Subject: [NSP] Re: Re: >> >> < I don't think it fair to call any style of playing any >>> instrument 'incorrect' simply because it does not adhere >>> rigidly to >>> tradition. >> >> Here we go again! >> >> FWIW: >> I a) value the tradition (and the baroque) and b) agree >> wholeheartedly with >> the above statement. >> >> I play various instruments in various styles. Why should NSP be >> the only >> instrument restricted to a single style? >> >> Kreisler any one? >> Or Stuff Smith? >> Or Andrew Manze? >> Didier Lockwood? >> Gatemouth? >> Grappelly? >> Itzhak Perlman? >> Willie Taylor? >> >> I wish I knew who was playing properly... >> >> chirs >> >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> > --
