Well said Bruce Jacobs!

Theodore, the fact that you use the term "historically responsible" signals
that I don't think we're going to ever get together on this issue. And
that's fine - it does
not change that we are both dedicated passionately to the harpsichord!

I can only say that the only litmus test for my own playing and others' is
that
it touches me, excites me and/or shows me something completely new.
Authenticity,
responsibility to a composer or their rules just doesn't interest me. You
can PHYSICALLY
play the instrument -- touch the keys -- in a way that's reminiscent of the
old composers,
while making **interpretative** decisions that differ greatly from what the
old composers instructed
or approved of.

In closing let me say that that my own musical aesthetic is one that's
often inspired by the soundscapes created
by Björk's  or Tori Amos' use of the harpsichord, and then I try to connect
that to playing a Louis Couperin unmeasured prelude or Ennemond Gaultier.
New ways of conceiving of old music is what interests me:)



On Thu, Jan 7, 2016 at 12:08 PM, T. Diehl <[log in to unmask]> wrote:

> MB: "...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..."
>
> That to me, Michael, is a much more nuanced statement than your previous
> one, if I may say so?
>
> The heart of the matter is that it is extremely difficult to combine an
> historically responsible approach with real emotional impact, and very few
> achieve this. It is the challenge of every harpsichordist who is serious.
>
> YouTube and the download sites are filled with hundreds of abominable
> harpsichords, played 'historically' and boringly, and often enough in the
> wrong temperament for the music concerned. No-one needs that kind of
> historic approach, which is often nothing more than an excuse for a lack of
> musicality.
>
> We also forget that in her time and place, Landowska was also very
> 'historic', and oftentimes espoused by the public because of that, in prose
> analogous to that used by many in the 21st century who dislike historical
> practices or keyboards. Sir Thomas Beecham's quote sums the majority view
> back then: "The sound of a harpsichord is like two skeletons copulating on
> a tin roof in a thunderstorm."
>
> I would say that it is lack of intellectual vigor today, where everyone
> imitates the latest recording, that has led to a vacuous
> copy/paste dead-end style in purist harpsichord performances. Blaming
> historical practice itself is just shooting the messenger.
> Regards,
> 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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