You're right, Michael - I find myself somehow automatically starting to swing when playing many of the French guys.
Take care.
Philip Kimber .
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Betreff: Re: Authenticity, le bon gout
Datum: 2016-01-08T14:15:13+0100
Von: "Michael Brazile" <[log in to unmask]>
An: "[log in to unmask]" <[log in to unmask]>
Thanks Philip, and thanks to Owen for his input.
I can only say that I am not against doing something that has historical
precedent
or that the composers asked for - like inégale. To take this back to
Claudio's
issue with this unnamed player's disuse of inégale Personally, I find
inégale to be the essential
element that makes most French courantes come alive in the harpsichord and
lute music
of the 17th century; but I find myself applying it to pieces and sections of
pieces because it "SOUNDS RIGHT" and musically satisfying to me, not because
the composer told me I had to do it. The same goes with ornaments, I take
them out
and add them as I see fit.
My last word on this is simply that, just as Claudio finds it pitiable that
a player would not
use inégale in a place that a composer said it "should" be used, I find it
disappointing
when people dismiss a performance simply because it does something that the
composer
would not have sanctioned or envisioned. At the end of the day, I play
music - with the harpsichord
as my medium - in order to have a transcendent experience. Where that
starts getting muddled
and dragged down to satisfy for "correctness" or "authenticity" or "style",
I have absolutely no interest.
Have a great weekend all.
On Thu, Jan 7, 2016 at 4:13 PM, Philip Kimber <[log in to unmask]>
wrote:> I've been following the present discussion between Michael Brazile and> Claudio Di Veroli with great interest because this whole idea of "le bon> gout" has been going round in my head for some time.> I find myself agreeing with both of you! In order for our composers to> "move" us we need all the mannerisms of their time. And the greatest joy> can be found in trying various amounts of "inégale" , "suspension",> playing a mordent, for example, more slowly or faster.> Simply playing the music "as written", perhaps even leaving out the> ornaments, just makes it boring. I think that romantic piano music, too,> has to be played with discipline, i.e. correctly but also with suitable> rubatos, accelerandos, crescendos etc, i.e. with all the "mannerisms" of> its period for it to touch our feelings. It would be a poor pianist who did> nothing but get all the notes right! A machine can do that. But the basic> question still remains:> What is this good taste? I feel there are many answers - and that's great!>> Best> Ph.>> ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::> 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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