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Harpsichords and Related Topics

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Subject:
From:
Andrew Bernard <[log in to unmask]>
Reply To:
Harpsichords and Related Topics <[log in to unmask]>
Date:
Sun, 15 May 2016 11:07:49 +1000
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Hi Ibo,

On 15/05/2016, 12:46 AM, "Harpsichords and Related Topics on behalf of Ibo Ortgies" <[log in to unmask] on behalf of [log in to unmask]> wrote:

>I can try to dig up as much historical information as possible, and I can argue for historical informed performance as much as I want, but if anybody says "But I prefer it in this or that way", I can’t argue "It were better if you'd follow the composer’s intentions" (and who would know the intentions of the composer in such an exclusive way?).


De gustibus non est disputandum.

But as to preference of personal kind, why is somebody preferring to hear the notated pitches but not the rest of the notation? The de Falla score is heavily annotated with very expressive dynamics for the harpsichord, quite detailed and precise. De Falla would not have wasted ink if he did not mean it. The dynamic markings are clearly not for the piano indicated as a second choice instrument as the performance notes (refer my earlier post) explicitly say the work is conceived of for the sound of the harpsichord. Pretty soon, if you insist on the modern conception of the historical harpsichord for the work, you will be wanting baroque oboes as well, and baroque strings. As to knowing the composer’s intentions in this case, we have a lot of context about the work, its performance, and a detailed preface with his instructions. So we can know his intentions, to the degree that words and notes express.

As to your comment about the OP’s question not being addressed, I did reply objectively that requiring an LP and a good modern harpsichord narrows the time frame for available recordings to something very narrow, as the overlap here is not large, and you may be quite unlikely to find anything.

Andrew

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