Re: Âà¶K¡G¦³·N«äªº°Q½×

Historically Infomed Performance

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> ¤U­±¬O¦b­^¤åªº¡u¥j¨å­µ¼Ö°Q½×ª©¡v©Ò¬Ý¨ìªº°Q½×¡C½Ð°Ý¦³½Öª¾¹D "HIP" movement
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>
> ¦³ªÅ½Ð¨ì www.yentzu.idv.tw.  §¤§¤
>
>
> "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
>
>


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