At yet another person i respect and always gives me food for thought, another bravo.



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Saturday, 9 January 2016, 21:14 +0000 from [log in to unmask]  <[log in to unmask]>:
>I fully agree with Tilman.
>
>I also believe in the value of cultivating intellectual and musical
>diversity. There are no absolute rights and wrongs here, only different
>musical pleasures and rewards. The framing of the debate in an "either/or"
>context strikes me as inimical to the true exchange of ideas which is one
>of the great virtues of a List like this; "either/or" frameworks tend to be
>reductivist and essentialist, even Manichean, so I mistrust it.
>
>So here is a question (and a proposal), which I hope can move our
>discussion beyond any *ad hominem* questions. Are we ready to move on from
>the artifical concept of HIP meaning Historically Informed Performance?
>
>HIP was an idea that in the 1990s helped us to progress from the slippery
>debates about "authenticity" that had so vexed people in the 1970s and
>1980s. As such, it had real value in that continuing debate. But just as
>"authenticity" was shown to be a problematic mirage, so I believe that
>"HIP" is too simple a concept, since it refers only to the last part of the
>musical process, the performance. I find that to be an unhelpful emphasis.
>
>Speaking personally, I have never adopted "Historically Informed
>Performance" as either a professional aim or a personal desire. What I do
>work hard at, and what I take very seriously indeed, is Historically
>Informed Preparation (or Historically Informed Practice). I find that to be
>an important distinction. What happens when I walk out on stage is always
>another matter. It's primarily concerned with connecting with a particular
>audience, on a particular instrument, in a particular room, on  a
>particular day. For me, that's largely a question of finding out what the
>music can become under those particular circumstances. (And tomorrow, as
>Scarlett so famously said, is another day...)
>
>For those who are interested, I discussed these issues in two recent
>publications: an article I published in the 40th anniversary issue of
>"Early Music" ("Gustav Leonhardt's 'Authenticity' ", Feb. 2013, pp. 86-98);
>and an interview in "Early Music America" ("Bird Quills, the Art of Touch,
>and Other Pleasures", Summer 2013, pp. 37-41, 56-58). In the interview, I
>was asked the question "How would you define historically informed
>performance?", so I answered... But it was of course just an answer on that
>day, to that interviewer, in that context! The debate continues...
>
>Best wishes to one and all,
>DM
>
>
>
>*Davitt MoroneyProfessor of Music; University OrganistDirector, University
>Baroque Ensemble*
>
>On Sat, Jan 9, 2016 at 12:22 PM, Tilman Skowroneck < [log in to unmask] >
>wrote:
>
>>
>> Maybe also not. I, for one, am unhappy about the framing of the initial
>> post, or more precise, the rage-bait format in which some
>> performance-practical decisions of one harpsichordist were here presented
>> to the community.
>> That has nothing to do with preferences. As music engages, so do the
>> decisions by other players, and those decisions that seem "wrong" to me
>> tempt me, too, to take sides.
>> But what is there to publicly discuss, really? If we want to be
>> considerate and erudite people discussing differentiated matters of
>> professional significance in a mutually informative way, this discussion
>> was started with the wrong foot first. Adding a name would only make
>> matters worse.
>>
>>
>
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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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