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"Sightreader" [EMAIL PROTECTED] wrote:

 >I hear period instruments and style advocated as
>a way of solving various problems in clarity and
>balance lost by using modern instruments.
>
>Is this the only way to regain those values?  Rather
>than moving everything back 200 years, can't we
>advance instrument design and performance style
>*forward* instead?  Can't we try to get the best of
>both worlds by reinventing instrument design and
>playing technique rather than insisting that you
>choose from existing traditions that are either 50
>or 200 years old?

Well, yes and no. It is useful to look at history, where you see alternating
periods of progress and regression, Renaissance and Dark Age, with an
occasional cataclysmic collapse that probably more or less erases the
affected
civilization. The key to this is, each Renaissance is sparked by a renewed
interest in the previous ones, and if you master the ideas that made them
possible, you are in a position to improve upon them. This goes for art as
well
as science; nothing of consequence is arbitrary.

Much of the so-called "HIP" movement is bogus, and many of the performances
are
sterile. However, there is something to be learned from the old construction
of
instruments (violin builders are still debating the secrets of Stradivari,
Amadi and Guarnari); the one quality that has been lost from particularly
the
winds and keyboards is the quality of registration, where the instrument, in
imitation of the well-trained human voice, has distinctive shifts in tone
color
as it passes from one register to another. There is a recording that I find
particularly instructive, of Paul Badura-Skoda playing Mozart's C Minor
Fantasy
on a forte-piano. The register shifts are very pronounced, and you can hear
how
the composer took them into account.

So, if we are to begin correcting the defects in modern instrument building
(and modern composition), we must begin by identifying crucial knowledge
which
has been lost.




eusebius7
Davidsbuendler
http://members.aol.com/buendler