The problem lies elsewhere:
A number of individuals in Savall's close circle (Lislevand, Smith et al.)
are closet-composers (including Savall himself).
So they are simply looking for an outlet of their aristophilia.
RT
----- Original Message -----
From: "Nicolás Valencia" <niva...@gmail.com>
To: <lute@cs.dartmouth.edu>
Sent: Thursday, December 17, 2009 6:49 AM
Subject: [LUTE] Re: New recording by Lislevand
Diego,
IMO he's trying to do something easy to sell.
This is quite unfair, I'm sure he would sell a full Dowland or Weiss CD much
easier (I'd buy it for sure!).
May be paople watching renaissance telefilms
I suspect his performance is based on more serious grounds.
We say: se mio nonno aveva le ruote, io ero una biciletta.
Non ho capito cosa è successo al tuo nonno...
This is a nonsense: untill the XX century each period is contemporary with
its music.
And this sentence means nothing!
Something tells me Lislevand is being really "contemporary" looking for a
XXI century approach to early music based on the past legacy. Similarly,
Bacheler was really "contemporary" when composing the variations on "La
jeune fillette" instead of playing it "as it is".
Mathias,
Quite similar to the nonsense in his Belle Homicide booklet.
Funny, I loved that booklet. Actually I started playing baroque lute because
of what Lislevand says and plays in "La belle homicide". Perhaps you refer
to the chapter "An update on performance practice", which is a bit severe
against the "historically authentic performance practice". However, you can
agree or disagree with it, but there's no reason to call it "nonsense".
Unless you're talking about his recommendation to listen his beautiful
French music in good company, with a glass of wine and some tasty cheese...
and not putting the volume down too low! (I pledge guilty: I've done it
sometimes and don't regret it).
Nicolás
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