Why is it all or Nothing Theodore? I LOVE the sound of a historically
copied harpsichord, and the infinite challenge of playing expressively on
one.
Can't one love those things but also look, as modern players do, to find
new ways to interpret the old music, including all the ways the composers
never mentioned or envisioned?
My issue with the Early Music movement is that it has tended to be so
incredibly conservative. Even Leonhardt, whom I much admired, went so far
as to say in an interview ( from the early 2000's!!) that interpreting
early music
according to one's one artistic "whims" represented immoral conduct.
Immoral conduct!? Come on. That just goes far too far in my view.
And Attitudes like that do absolutely nothing to insure that early music
survives, never mind
has a vibrant life, into the 21st century and beyond. What Attitudes like
that do a great job at, however, is alienating
would-be fans, listeners and even players.
On Thu, Jan 7, 2016 at 11:21 AM, T. Diehl <[log in to unmask]> wrote:
> Well, then Michael, why even bother playing the harpsichord at all?
>
> If the sounds and playing methods of the harpsichord's music don't interest
> you, and it is all about emotions, then make your life easy and just play a
> piano (or a synthesizer, even easier).....
>
> Theodore
>
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Note: opinions expressed on HPSCHD-L are those of the individual con-
tributors and not necessarily those of the list owners nor of the Uni-
versity of Iowa. For a brief summary of list commands, send mail to
[log in to unmask] saying HELP .
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