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 .
> ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
>
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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 .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
|