Yes - good points, Thomas. On Jul 15, 2011, at 2:29 PM, Thomas Schall wrote:
> I'm with David > > Just want to add that most of the interpretations are getting "better" > (the > > music sounds better) if we know more about the instrument, the > composer, the > > way it could have been intended to play, but also cultural surrounding > like > > poetry (imagine early renaissance music without Petrach's poetry!), the > rooms > > the music was performed and the audiences. > > It's not necessary that today's audiences know such details but I am > convinced > > it helps to find a interpretation. And that audiences appreciate the > quality. > > We don't need to know all the effort Donna and Ron are putting into > their interpretations to feel they are on the highest level. > > The "If they have had ... " is reducing because then we would never > have had > > the subtleness and sweetness of the old instruments and the music for > them. > > Thomas > > Am Dienstag, 12. Juli 2011, 16.13:21 schrieb David van Ooijen: > >> On 12 July 2011 04:15, <t...@heartistrymusic.com> wrote: > >>> I think that, if the old masters had possessed effects, they would > have > >>> used them. > >> > >> .. and would have written different music which would have utilised > >> these effects. Which is the whole point about HIP: using the means > the > >> old had at their disposal to create a sound that could have been in > >> their ears when they wre writing their music. > >> > >> David > > -- > > Thomas Schall > > Doerflistrasse 2 > > CH-6078 Lungern > > +41 41 678 00 79 > > thomas.sch...@bluewin.ch > > ------------------------------------------------------------- > > ---------- Weitergeleitete Nachricht ---------- > > Betreff: Re: [LUTE] Re: What's the point to 'historical sound' > > Datum: Freitag, 15. Juli 2011, 20.20:13 > > Von: Thomas Schall <lauten...@lautenist.de> > > An: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> > > Kopie: lute@cs.dartmouth.edu, David van Ooijen > <davidvanooi...@gmail.com> > > which reminds me on my feelings towards Beethoven's piano sonatas. I > couldn't > > stand them any more ... but then I've heard a concert when they were > played on > > a Hammerklavier - so delicate! I loved it ... > > The same to Chopin on an old piano instead of the modern Steinways it's > > usually played. > > It's like a new world - and I like it. > > I'm not sure BTW that the old composers would have enjoyed modern > instruments. > > They have had different listening habits and the modern instruments > would have > > felt like visiting a Heavy Metal concert when used to lute music. > > Thomas > > Am Dienstag, 12. Juli 2011, 17.09:12 schrieb Martyn Hodgson: > >> Indeed David, and precisely the point I made which launched this > round > >> of mails. Once we move away from considerations of historical > evidence > >> we quickly get into the realms of mere personal assertion to fit an > >> individual's own preferences which may, or may not, be related to > what > >> the Old Ones expected. > >> > >> The idea that, to take one composer at random, JS Bach would have > >> preferred a modern Bechstein grand is, of course, not new and this > sort > >> of case was used from the earliest days of the revival of interest in > >> his music in the mid 19th century. Whether or not he would have done > is > >> something we'll never know - what we do know reasonably well are the > >> sorts of keyboard instruments he would actually have come across. > >> > >> Martyn > >> --- On Tue, 12/7/11, David van Ooijen <davidvanooi...@gmail.com> > wrote: > >> > >> From: David van Ooijen <davidvanooi...@gmail.com> > >> Subject: [LUTE] Re: What's the point to 'historical sound' > >> To: lute@cs.dartmouth.edu > >> Date: Tuesday, 12 July, 2011, 15:13 > >> > >> On 12 July 2011 04:15, <[1]t...@heartistrymusic.com> wrote: > >>> I think that, if the old masters had possessed effects, they would > >> > >> have used them. > >> .. and would have written different music which would have utilised > >> these effects. Which is the whole point about HIP: using the means > the > >> old had at their disposal to create a sound that could have been in > >> their ears when they wre writing their music. > >> David > >> -- > >> ******************************* > >> David van Ooijen > >> [2]davidvanooi...@gmail.com > >> www.davidvanooijen.nl > >> ******************************* > >> To get on or off this list see list information at > >> [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >> > >> -- > >> > >> References > >> > >> 1. > http://uk.mc263.mail.yahoo.com/mc/compose?to=t...@heartistrymusic.com > >> 2. > http://uk.mc263.mail.yahoo.com/mc/compose?to=davidvanooi...@gmail.com > >> 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > Thomas Schall > > Doerflistrasse 2 > > CH-6078 Lungern > > +41 41 678 00 79 > > lauten...@lautenist.de > > ------------------------------------------------------------- > -- > > Thomas Schall > > Doerflistrasse 2 > > CH-6078 Lungern > > +41 41 678 00 79 > > lauten...@lautenist.de > -- >
