Klarinet Archive - Posting 000205.txt from 1993/11

From: Cary Karp <nrm-karp@-----.SE>
Subj: Authenticity
Date: Sun, 28 Nov 1993 10:07:53 -0500

In the so called "early music world" there are indeed performance
policemen -- the people who it is hoped will buy concert tickets and
recordings. Unfortunately, their judgements are not invariably based on
historical knowledge, so popular notions of authenticity are often
steered by commercial forces. What is important is to be able to make a
saleable claim to authenticity rather than to be offering an (to
the best of our present knowledge and ability) authentic performance.
(I know that this is a loaded concept but, on the assumption that the
discussion may go on for awhile, I won't rant on quite yet.)

Musicians trained in the modern conservatory tradition are often led to
believe that modern instruments are "better" than those of earlier
periods (better for what and for whom?) and that what are essentially
romantic notions of expression are applicable to the performance of just
about anything. Here the policing pressure is chastisement for deviating
too far from the way a piece is "supposed" to be played.

One can argue artistic license vs. historical awareness in either
direction, as I expect the ensuing discussion on this list to demonstrate.
Personally, I prefer to do everything correctly in light of what I
know about period practice ** AND ** produce what I, and hopefully my
listeners, would regard as well worth listening to.

*** Cary Karp *** nrm-karp@-----.se ***

(SE is Sweden.)

   
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