First, I agree; the should be to play it like you mean it. However, in dramatizing phrasing and dynamics in a way that is not necessarily implied in period sources, how HIP is it?
Eugene At 07:17 AM 8/30/2005, lapis bleu wrote: >keeping alive any piece of ancient music is something weird, maybe; it >obviously has to do with anachronism. yes - galilei sounds to modern ears >as clean and as predictably agreeable as any later baroque. the news >inside it have all become mainstream in the following years - what we >have to do then is to spell the drama by means of phrasing and dynamics. >mere notes can no longer convey any sense of daring. it sounds like a >novel with no fictional characters, just wholly realistic people in it. it >sounds like an afterthought - i play it like it were bach, and i'll bring >it back to modern life again. news turns into sheer beauty. > >i pick up the beginning of the G phantasy by de rippe, 1536. it's wholly >smooth and consonant - actually sounds like an hypothetical tabulation >from some palestrina motet, or so. metallica lovers will prick up their ears >at it, though. they never heard a "guitarish" thing articulate four singing >voices out of a single chord such a gorgeous way. phrasing and dynamics, >again - and beauty turns into sheer news. > >read my sheet of ancient music. think about the people who would find >it normal, or even obsolete today. they are the most intitulated judges of >my playing (clashes of minor and major 7ths in a single chord are for >prokof'ev lovers). it's them i've got to persuade. it's not a hard thing >to do, >though - they hold a fragment, i hold the whole frame around it. it's not >the clashing 7ths - it's phrasing and dynamics, again. > >anachronism doesn't mean that i should bring galilei or de rippe all the >way to the present time - it rather means to shift prokof'ev and metallica >back to the 16th or 17th century. it's them i've got to justify, while i'm >playing renaissance. it's a rhetorical matter - one that forces me to let >ancient music say more than it knew it could say, when it was written. >any rightful lute playing has to be emotionally overloaded, i'm afraid. >lute music, like hebrew, is written with no vowels. it's up to the player >to spell them back again. > >hoping not to bore, apologizing for my poor english, > >carlo. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
