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The historically informed performance, period performance, or authentic performance movement is an approach by musicians and scholars to research and perform works of classical music in ways similar to how they may have been performed when they were originally written. The movement had its beginnings in the performance of Medieval music, Renaissance music, and Baroque music, but subsequently came to incorporate the Classical music era and even Romantic music eras as well. The two methods adopted by historically informed performance artists have been to use #Early instrumentss and to utilise treatises and other written evidence to gain insight into performance practice, i.e. stylistic and technical considerations based on how the works may have been played in the period in which they were written.

Historically informed performance compared to traditional musical practice Most historically informed performance artists advocate the practice as a way of achieving more artistically effective performances of older music. They feel that the gradual changes in the construction of instruments and in the training of musicians have produced instruments and styles that are optimal for (roughly) mid to late 19th-century music, but not for older work.

In the community of classical musicians, students have over the centuries learned ways of playing and interpreting music from their teachers and also from performances they hear. This results, to some degree, in stylistic accretion, as modes of performing developed by outstanding musicians are echoed through time in the performances of the younger musicians that they influenced. Thus, the way that music is performed is in part a function of the musical culture as it has evolved up to that time.

The historically informed performance movement emphasizes instead historical scholarship, covering both instruments and performance practice, in order to obtain a more direct view of original performance practices. Such scholarship is the work both of the performers themselves and of non-performing specialist scholars, usually working in universities.

Adherence to principles of historically informed performance is not an all-or-nothing matter. Many traditional musicians are deeply interested in what scholarship can tell us about how music was performed in the composer's time. Moreover, modern instruments can be played in ways that approximate what may have been achieved on instruments of the composer's era.

Early instruments Many of the instruments of early music disappeared from widespread use around the beginning of the Classical music era era. Others continued in use, but greatly altered their sound quality and playing characteristics in the course of the 19th century. In either case, when older instruments, or reconstructed versions of them, are used, they are called original instruments, "historical instruments," or period instruments. The discussion below (see also Organology) covers instruments that had to be revived entirely, followed by instruments whose earlier form was rediscovered. See also List of period instruments.

Harpsichord Among keyboard instruments, the most dramatic disappearance was that of the harpsichord, which gradually went out of style during the second half of the 18th century. The piano became more popular by such a degree that harpsichords were destroyed; indeed the Paris Conservatory is notorious for using harpsichords for firewood during Napoleonic times and the French Revolution.http://www.usc.edu/uscnews/stories/10982.html Composers such as François Couperin, Girolamo Frescobaldi, and Johann Sebastian Bach wrote for the harpsichord, clavichord, and Organ (music), or sometimes for a generic "keyboard" (German Clavier), but not the piano, which was invented ca. 1700 and only widely adopted by about 1765. The music of these composers sounds very different, and requires a different interpretive approach, when played on the harpsichord instead of the piano. Notably, since every note on a harpsichord is equally loud, subtle variations of timing and articulation, as well a judicious use of ornament (music), are employed to achieve an expressive harpsichord performance.

The harpsichord was re-introduced to the concert-going public in the first half of the 20th century by Wanda Landowska. Since most useful knowledge of harpsichord construction had been lost by that time, Landowska needed to use a rather peculiar harpsichord, based on the modern grand piano, which was made for her by the Ignaz Pleyel company of Paris. In the view of many later listeners, the tone of this harpsichord was not very successful. From the 1950s on, harpsichord builders such as Frank Hubbard, William Dowd, and Martin Skowroneck began to follow the procedures of the early harpsichord builders. Today, harpsichords in the style of the old makers are produced in workshops around the world.

Viol The viols (also known as viola da gamba) are a family of bowed (and sometimes plucked) fretted stringed instruments which evolved from the Spanish plucked Vihuela in the late 15th century. The bass viol roughly resembles a six-stringed, fretted cello — but it is in fact a bowed-guitar (a bowed, fretted, lute tuned (44344), vihuela/viola guitar, a vihuela de arco). All viols were gut strung. Their voice is generally described as being more delicate, humming, and sweet, (compared to a cello, for example), noble and richly resonant in the lower registers, and often reedy (like an oboe or organ) in the upper range. Their reediness in tone can sometimes have in a certain nasal quality.

A vast quantity of music for viols, both ensemble and solo, was written by composers of the Renaissance music and Baroque music eras, including: Diego Ortiz, Claudio Monteverdi, William Byrd, William Lawes, Henry Purcell, Monsieur de Sainte-Colombe, J. S. Bach, Georg Philipp Telemann, Marin Marais, Antoine Forqueray, and Carl Frederick Abel.

Many composers wrote complex polyphonic part-music for viol consort, ensembles of viols of different sizes (typically held vertically), playing early chamber music, arranged for trio, quartet, quintet, sextet, and more.

The viol family consists of these sized instruments, largest to smallest:

In England, slightly smaller specialized bass viols were developed, called division viols, and lyra-viols.

Viols were largely abandoned by the end of the 18th century, being overtaken by the violin family.

Among the foremost modern players of the viols are: Paolo Pandolfo, Wieland Kuijken, Jordi Savall, John Hsu, Vittorio Ghielmi, and Guido Balestracci. There are many modern viol consorts (ensembles of violists) including Fretwork (music group).

Recorder The recorder is a wind instrument, made of wood. Its tone is similar to the flute, but it is played by blowing through the end, rather than by blowing across a soundhole. Like viols, recorders were made in multiple sizes (contra-bass, bass, tenor, alto, soprano, the tiny sopranino and the even smaller kleine sopranino or garklein). George Frideric Handel and Georg Philipp Telemann wrote solo sonatas for the recorder, and recorders were often played in consorts of mixed size, like viols. For a number of important modern exponents of the recorder, see Recorder player.

Other instruments Other instruments that ceased to be used around the same time as the harpsichord, viol, and recorder include the lute, the viola d'amore, and the baryton. Instruments that lost currency rather earlier in musical history include the cornett, the shawm, the rackett, the krummhorn, the theorbo, and the hurdy-gurdy.

Developed instruments Even the instruments on which classical music is ordinarily performed today have undergone many changes since the 18th century, both in how they are constructed and how they are played.

Stringed instruments (the violin, viola, cello, and double bass) were made with progressively longer necks and higher bridges, increasing string length and tension — though the latter has varied a lot depending on string thicknesses. The most prized stringed instruments of today, made by Antonio Stradivari and by the Guarneri family in 17th-18th century Italy, started out their careers as "early instruments". They were modified in the 19th century to achieve the more powerful romantic sound. (See baroque violin)

From the heavy rigging of the early to mid 1800s, however, the tendency shifted to using lighter strings for an easier playing technique and more soloistic brilliance. From around 1900 until our times, the average string tension has been lighter than in most Baroque traditions except for 18th century France, but the longer strings and the more compact material (including, in our days, steel E strings) has led to a more brilliant and short-range penetrating tone with a greater acoustical emphasis on the even overtones.

In modern string playing, a more or less constant vibrato is the norm, with lack of vibrato used as a special expressive effect. In the 18th century, it was just the opposite, with vibrato serving as an ornament.

The oboe likewise became more powerful in its sound. The baroque oboe was more pastoral or reedy in tone while the Classical oboe, which came to the fore c. 1780, was more silvery. A similar difference is found between the early and modern bassoon.

The flute of the 18th century was typically made of wood rather than metal, and likewise had a gentler but more woody tone.

Early brass instruments were less powerful, but more colorful (containing more overtones) than their modern equivalents. The tonal difference is perhaps less than is found among the woodwinds and strings. However, the playing of early trumpets and Horn (instrument)s was very different and indeed much more difficult, since versions of these instruments incorporating keys or valves were only invented around the end of the 18th century. The players of the earlier type of instrument had to use mostly just lip control to determine pitch; the early horns also had their pitch altered by the placement of the player's hand in the bell, a technique known as hand-stopping. Anthony Halstead is widely considered to be among the finest modern exponents of the "natural horn". The earlier trombone of course offered manual pitch control, as did its similar predecessor the sackbut.

The effect of these instruments in their original form is particularlynoticeable when they play together in orchestras, since not onlydo the musical lines sound different, but their relationship to oneanother is altered by the difference in relative volume (windinstruments generally being louder relative to the strings). A numberof historically informed performance orchestras have achieved a broad following.

For the piano, the difference between 18th century and modern versions is probably greater than for any other instrument; for discussion of these differences and their consequences for performance, see Piano history and musical performance. The construction of replica 18th century pianos came somewhat after the revival of the baroque harpsichord, but used many of the same skills, since early pianos resembled harpsichords in their construction. Leading modern-day performers on the early piano or fortepiano include Malcolm Bilson, Robert D. Levin, and Melvyn Tan.

Singing The human voice is a biological given, but can be trained in differentways. Singers in historically informed performances typically aim at aless loud tone, usually with less vibrato. It isfeasible for the singer not to sing so loud, since the instrumentsplaying at the same time are softer. Listeners to early music seldomcomplain that the singers are "shrieking" or "barking"– though ofcourse this does not exclude the possibility that quite differentvocal problems might be present. A few of the singerswho have contributed to the historically informed performance movement are Emma Kirkby, Julianne Baird, Nigel Rogers, and David Thomas (singer).

Historically informed performances sometimes use male singers, called countertenors, to sing alto parts. Although it is often a vexed question how often this was done in early performance, a number of countertenors have won acclaim for their purity of tone, vocal agility, and interpretive skill. Modern countertenor singing was pioneered by Alfred Deller, and leading contemporary performers include David Daniels, Derek Lee Ragin, Andreas Scholl, Michael Chance, Drew Minter, Daniel Taylor, and Brian Asawa.

Compositions intended to be sung by castrati present a problem. Modern substitutions employ female sopranos or high countertenors (known as sopranistas), but neither of those seems to capture the true effect of the castrato sound. The 1994 movie Farinelli Il Castrato, about an 18th-century castrato, used digital effects to create the voice by mixing the sound of a countertenor with a soprano singer.

The use of boy sopranos, or trebles, in certain music (for example the church music of Johann Sebastian Bach), while historically authentic, is not often done because of the belief that boys cannot put the emotional understanding into the music that adult female sopranos do. Voices broke at a later age in the 18th century, so boys as old as 16 or 17 could sometimes still sing soprano parts. Boy sopranos in choirs are not uncommon, even in traditional performances, but the use of boy sopranos as soloists is rare. Most notably, much of the music of Bach that Nikolaus Harnoncourt and Gustav Leonhardt recorded made use of boy sopranos even for the solo parts.

Recovering early performance practices Both pedagogical works and the correspondence of musicians from past centuries play an important role in recovering information about early performance practice. Representative of the works from which valuable information has been obtained are the following:



Among the letters of musicians, those of Wolfgang Amadeus Mozart are notable for their liveliness and insight, and from them considerable information about performances of his work is obtained. In the case of Joseph Haydn and Ludwig van Beethoven we have the advantage that they became very famous–in fact, venerated–in their own lifetimes, and many people with whom they conversed attempted to remember and write down their words.

Some documents suggest that contemporary performances of early orchestral music were of lower quality than might be expected. For example, a letter from Haydn (Oct. 17, 1789) says:

Now I would humbly ask you to tell the princely Kapellmeister there that these three symphonies List of symphonies by Joseph Haydn ] because of their many particular effects, should be rehearsed at least once, carefully and with special concentration, before they are performed.

implying of course that symphonies were often performed with no rehearsal at all. Likewise, there is testimony that the task of keeping early instruments in tune was difficult and perhaps also neglected. One critic wrote in 1684:

At the beginning of the concerts, we observe the accuracy of the chords ... some time after, the instruments make a din; the music is for our ears no longer anything but a confused noise.

Interpreting musical notation One area in which scholarly interpretation is important is in interpreting the musical notation of the past, which becomes progressively less explicit as one goes back in time. Some familiar difficult items are as follows:













Mechanical music Some information about how music sounded in the past can be obtained from contemporary mechanical instruments. For instance, the Dutch museum Museum Van Speelklok tot Pierement owns an 18th century mechanical organ of which the music programme was composed and supervised by Joseph Haydn.

Linguistic issues An additional relevant area of scholarship is the determination of how the languages of sung music were pronounced at the time of first performance. Such information can help in establishing rhymes and in aligning the syllables to the musical notes (underlay). The disciplines of historical linguistics and philology play the primary role here. Some early music performers prefer to sing using the old pronunciations, feeling that the notes sound better when sung to their original syllables.

Issues of pronunciation even carry over to church Latin, the language in which a huge amount of early music was written. The reason is that Latin was customarily pronounced using the speech sounds and patterns of the local vernacular language; see Latin regional pronunciation.

Tuning Twelve tone equal temperament is the predominant tuning today, but was not so in the past. For many periods tuning may have depended upon region, varied by composer, with some composers even preferring different tunings at different times in their lives. However, it is often hard to determine exactly what these tunings were.

Historically informed performances of Baroque music are usually in "chamber pitch" (tuned about a semitone down compared to modern concert pitch; see Pitch (music)#Historical pitch standards).

Issues in historically informed performance The perceived esthetic benefits of historically informed performance vary with what kind of music is being played. In rough terms, they can be characterized as follows.









Variety of opinion Opinions on the historically informed performance movement vary widely, from very strong support to very strong opposition.

A generally skeptical but moderated position has been taken byCharles Rosen, a distinguished traditional classical musician andauthor on music. One criticism Rosen has made is that the spread ofthe historically informed performance movement has depended very heavily on the recording industry. This results from two factors. First, the lower volume of authentic performance instruments means they tend to be ineffective in large modern concert halls, so that live performance is difficult to sustain financially. Second, the unstable intonation and lesser reliability of early instruments means that a high-quality performance is most easily obtained in the recording studio, where multiple takes can be spliced together to iron out mistakes, and it is possible to interrupt the music frequently to retune the instruments. A musical culture based predominantly on recordings is arguably an impoverished one, given that most listeners respond more intensely to a live performance than to a recording.

"The study of old instruments and historic performance practice has taught us a great deal, but the main point, the impact of harmony, has been ignored." (Daniel Barenboim)

American musicologist and conductor of Renaissance choral music, Richard Taruskin, discusses some flaws in the case for historically informed performance in his treatise Text and Act.

Overdependence on scholarship can result in dry and uncompelling performances, as the role of interpretation is diminished.

Also, some listeners who enjoy absolute pitch are disturbed by fact that historically informed performances often use a lower pitch than traditional performances (415Hz vs 440Hz). And some players and ensembles adopt yet another pitch like 390Hz for early baroque music or 430Hz to play Mozart's or Beethoven's music, which makes the whole situation even more confusing for those people.

There are many listeners who enjoy both historically informed performances and traditional performances. Such listeners might, for instance, enjoy Malcolm Bilson's vivid and stylish authentic performances of Joseph Haydn's piano sonatas on a replica 18th century piano, but also enjoy Vladimir Horowitz's interestingly idiosyncratic (and quite heavily pedaled) performances of the same works on a modern concert grand.. Nicolas Harnoncourt has conducted the Consentus Musicus of Vienna for over 50 years, and he combines historical awareness with a highly individual approach.

See also

References

Bibliography

External links

The historically informed performance, period performance, or authentic performance movement is an approach by musicians and scholars to research and perform works of classical music in ways similar to how they may have been performed when they were originally written. The movement had its beginnings in the performance of Medieval music, Renaissance music, and Baroque music, but subsequently came to incorporate the Classical music era and even Romantic music eras as well. The two methods adopted by historically informed performance artists have been to use #Early instrumentss and to utilise treatises and other written evidence to gain insight into performance practice, i.e. stylistic and technical considerations based on how the works may have been played in the period in which they were written.

Historically informed performance compared to traditional musical practice Most historically informed performance artists advocate the practice as a way of achieving more artistically effective performances of older music. They feel that the gradual changes in the construction of instruments and in the training of musicians have produced instruments and styles that are optimal for (roughly) mid to late 19th-century music, but not for older work.

In the community of classical musicians, students have over the centuries learned ways of playing and interpreting music from their teachers and also from performances they hear. This results, to some degree, in stylistic accretion, as modes of performing developed by outstanding musicians are echoed through time in the performances of the younger musicians that they influenced. Thus, the way that music is performed is in part a function of the musical culture as it has evolved up to that time.

The historically informed performance movement emphasizes instead historical scholarship, covering both instruments and performance practice, in order to obtain a more direct view of original performance practices. Such scholarship is the work both of the performers themselves and of non-performing specialist scholars, usually working in universities.

Adherence to principles of historically informed performance is not an all-or-nothing matter. Many traditional musicians are deeply interested in what scholarship can tell us about how music was performed in the composer's time. Moreover, modern instruments can be played in ways that approximate what may have been achieved on instruments of the composer's era.

Early instruments Many of the instruments of early music disappeared from widespread use around the beginning of the Classical music era era. Others continued in use, but greatly altered their sound quality and playing characteristics in the course of the 19th century. In either case, when older instruments, or reconstructed versions of them, are used, they are called original instruments, "historical instruments," or period instruments. The discussion below (see also Organology) covers instruments that had to be revived entirely, followed by instruments whose earlier form was rediscovered. See also List of period instruments.

Harpsichord Among keyboard instruments, the most dramatic disappearance was that of the harpsichord, which gradually went out of style during the second half of the 18th century. The piano became more popular by such a degree that harpsichords were destroyed; indeed the Paris Conservatory is notorious for using harpsichords for firewood during Napoleonic times and the French Revolution.http://www.usc.edu/uscnews/stories/10982.html Composers such as François Couperin, Girolamo Frescobaldi, and Johann Sebastian Bach wrote for the harpsichord, clavichord, and Organ (music), or sometimes for a generic "keyboard" (German Clavier), but not the piano, which was invented ca. 1700 and only widely adopted by about 1765. The music of these composers sounds very different, and requires a different interpretive approach, when played on the harpsichord instead of the piano. Notably, since every note on a harpsichord is equally loud, subtle variations of timing and articulation, as well a judicious use of ornament (music), are employed to achieve an expressive harpsichord performance.

The harpsichord was re-introduced to the concert-going public in the first half of the 20th century by Wanda Landowska. Since most useful knowledge of harpsichord construction had been lost by that time, Landowska needed to use a rather peculiar harpsichord, based on the modern grand piano, which was made for her by the Ignaz Pleyel company of Paris. In the view of many later listeners, the tone of this harpsichord was not very successful. From the 1950s on, harpsichord builders such as Frank Hubbard, William Dowd, and Martin Skowroneck began to follow the procedures of the early harpsichord builders. Today, harpsichords in the style of the old makers are produced in workshops around the world.

Viol The viols (also known as viola da gamba) are a family of bowed (and sometimes plucked) fretted stringed instruments which evolved from the Spanish plucked Vihuela in the late 15th century. The bass viol roughly resembles a six-stringed, fretted cello — but it is in fact a bowed-guitar (a bowed, fretted, lute tuned (44344), vihuela/viola guitar, a vihuela de arco). All viols were gut strung. Their voice is generally described as being more delicate, humming, and sweet, (compared to a cello, for example), noble and richly resonant in the lower registers, and often reedy (like an oboe or organ) in the upper range. Their reediness in tone can sometimes have in a certain nasal quality.

A vast quantity of music for viols, both ensemble and solo, was written by composers of the Renaissance music and Baroque music eras, including: Diego Ortiz, Claudio Monteverdi, William Byrd, William Lawes, Henry Purcell, Monsieur de Sainte-Colombe, J. S. Bach, Georg Philipp Telemann, Marin Marais, Antoine Forqueray, and Carl Frederick Abel.

Many composers wrote complex polyphonic part-music for viol consort, ensembles of viols of different sizes (typically held vertically), playing early chamber music, arranged for trio, quartet, quintet, sextet, and more.

The viol family consists of these sized instruments, largest to smallest:

In England, slightly smaller specialized bass viols were developed, called division viols, and lyra-viols.

Viols were largely abandoned by the end of the 18th century, being overtaken by the violin family.

Among the foremost modern players of the viols are: Paolo Pandolfo, Wieland Kuijken, Jordi Savall, John Hsu, Vittorio Ghielmi, and Guido Balestracci. There are many modern viol consorts (ensembles of violists) including Fretwork (music group).

Recorder The recorder is a wind instrument, made of wood. Its tone is similar to the flute, but it is played by blowing through the end, rather than by blowing across a soundhole. Like viols, recorders were made in multiple sizes (contra-bass, bass, tenor, alto, soprano, the tiny sopranino and the even smaller kleine sopranino or garklein). George Frideric Handel and Georg Philipp Telemann wrote solo sonatas for the recorder, and recorders were often played in consorts of mixed size, like viols. For a number of important modern exponents of the recorder, see Recorder player.

Other instruments Other instruments that ceased to be used around the same time as the harpsichord, viol, and recorder include the lute, the viola d'amore, and the baryton. Instruments that lost currency rather earlier in musical history include the cornett, the shawm, the rackett, the krummhorn, the theorbo, and the hurdy-gurdy.

Developed instruments Even the instruments on which classical music is ordinarily performed today have undergone many changes since the 18th century, both in how they are constructed and how they are played.

Stringed instruments (the violin, viola, cello, and double bass) were made with progressively longer necks and higher bridges, increasing string length and tension — though the latter has varied a lot depending on string thicknesses. The most prized stringed instruments of today, made by Antonio Stradivari and by the Guarneri family in 17th-18th century Italy, started out their careers as "early instruments". They were modified in the 19th century to achieve the more powerful romantic sound. (See baroque violin)

From the heavy rigging of the early to mid 1800s, however, the tendency shifted to using lighter strings for an easier playing technique and more soloistic brilliance. From around 1900 until our times, the average string tension has been lighter than in most Baroque traditions except for 18th century France, but the longer strings and the more compact material (including, in our days, steel E strings) has led to a more brilliant and short-range penetrating tone with a greater acoustical emphasis on the even overtones.

In modern string playing, a more or less constant vibrato is the norm, with lack of vibrato used as a special expressive effect. In the 18th century, it was just the opposite, with vibrato serving as an ornament.

The oboe likewise became more powerful in its sound. The baroque oboe was more pastoral or reedy in tone while the Classical oboe, which came to the fore c. 1780, was more silvery. A similar difference is found between the early and modern bassoon.

The flute of the 18th century was typically made of wood rather than metal, and likewise had a gentler but more woody tone.

Early brass instruments were less powerful, but more colorful (containing more overtones) than their modern equivalents. The tonal difference is perhaps less than is found among the woodwinds and strings. However, the playing of early trumpets and Horn (instrument)s was very different and indeed much more difficult, since versions of these instruments incorporating keys or valves were only invented around the end of the 18th century. The players of the earlier type of instrument had to use mostly just lip control to determine pitch; the early horns also had their pitch altered by the placement of the player's hand in the bell, a technique known as hand-stopping. Anthony Halstead is widely considered to be among the finest modern exponents of the "natural horn". The earlier trombone of course offered manual pitch control, as did its similar predecessor the sackbut.

The effect of these instruments in their original form is particularlynoticeable when they play together in orchestras, since not onlydo the musical lines sound different, but their relationship to oneanother is altered by the difference in relative volume (windinstruments generally being louder relative to the strings). A numberof historically informed performance orchestras have achieved a broad following.

For the piano, the difference between 18th century and modern versions is probably greater than for any other instrument; for discussion of these differences and their consequences for performance, see Piano history and musical performance. The construction of replica 18th century pianos came somewhat after the revival of the baroque harpsichord, but used many of the same skills, since early pianos resembled harpsichords in their construction. Leading modern-day performers on the early piano or fortepiano include Malcolm Bilson, Robert D. Levin, and Melvyn Tan.

Singing The human voice is a biological given, but can be trained in differentways. Singers in historically informed performances typically aim at aless loud tone, usually with less vibrato. It isfeasible for the singer not to sing so loud, since the instrumentsplaying at the same time are softer. Listeners to early music seldomcomplain that the singers are "shrieking" or "barking"– though ofcourse this does not exclude the possibility that quite differentvocal problems might be present. A few of the singerswho have contributed to the historically informed performance movement are Emma Kirkby, Julianne Baird, Nigel Rogers, and David Thomas (singer).

Historically informed performances sometimes use male singers, called countertenors, to sing alto parts. Although it is often a vexed question how often this was done in early performance, a number of countertenors have won acclaim for their purity of tone, vocal agility, and interpretive skill. Modern countertenor singing was pioneered by Alfred Deller, and leading contemporary performers include David Daniels, Derek Lee Ragin, Andreas Scholl, Michael Chance, Drew Minter, Daniel Taylor, and Brian Asawa.

Compositions intended to be sung by castrati present a problem. Modern substitutions employ female sopranos or high countertenors (known as sopranistas), but neither of those seems to capture the true effect of the castrato sound. The 1994 movie Farinelli Il Castrato, about an 18th-century castrato, used digital effects to create the voice by mixing the sound of a countertenor with a soprano singer.

The use of boy sopranos, or trebles, in certain music (for example the church music of Johann Sebastian Bach), while historically authentic, is not often done because of the belief that boys cannot put the emotional understanding into the music that adult female sopranos do. Voices broke at a later age in the 18th century, so boys as old as 16 or 17 could sometimes still sing soprano parts. Boy sopranos in choirs are not uncommon, even in traditional performances, but the use of boy sopranos as soloists is rare. Most notably, much of the music of Bach that Nikolaus Harnoncourt and Gustav Leonhardt recorded made use of boy sopranos even for the solo parts.

Recovering early performance practices Both pedagogical works and the correspondence of musicians from past centuries play an important role in recovering information about early performance practice. Representative of the works from which valuable information has been obtained are the following:



Among the letters of musicians, those of Wolfgang Amadeus Mozart are notable for their liveliness and insight, and from them considerable information about performances of his work is obtained. In the case of Joseph Haydn and Ludwig van Beethoven we have the advantage that they became very famous–in fact, venerated–in their own lifetimes, and many people with whom they conversed attempted to remember and write down their words.

Some documents suggest that contemporary performances of early orchestral music were of lower quality than might be expected. For example, a letter from Haydn (Oct. 17, 1789) says:

Now I would humbly ask you to tell the princely Kapellmeister there that these three symphonies List of symphonies by Joseph Haydn ] because of their many particular effects, should be rehearsed at least once, carefully and with special concentration, before they are performed.

implying of course that symphonies were often performed with no rehearsal at all. Likewise, there is testimony that the task of keeping early instruments in tune was difficult and perhaps also neglected. One critic wrote in 1684:

At the beginning of the concerts, we observe the accuracy of the chords ... some time after, the instruments make a din; the music is for our ears no longer anything but a confused noise.

Interpreting musical notation One area in which scholarly interpretation is important is in interpreting the musical notation of the past, which becomes progressively less explicit as one goes back in time. Some familiar difficult items are as follows:













Mechanical music Some information about how music sounded in the past can be obtained from contemporary mechanical instruments. For instance, the Dutch museum Museum Van Speelklok tot Pierement owns an 18th century mechanical organ of which the music programme was composed and supervised by Joseph Haydn.

Linguistic issues An additional relevant area of scholarship is the determination of how the languages of sung music were pronounced at the time of first performance. Such information can help in establishing rhymes and in aligning the syllables to the musical notes (underlay). The disciplines of historical linguistics and philology play the primary role here. Some early music performers prefer to sing using the old pronunciations, feeling that the notes sound better when sung to their original syllables.

Issues of pronunciation even carry over to church Latin, the language in which a huge amount of early music was written. The reason is that Latin was customarily pronounced using the speech sounds and patterns of the local vernacular language; see Latin regional pronunciation.

Tuning Twelve tone equal temperament is the predominant tuning today, but was not so in the past. For many periods tuning may have depended upon region, varied by composer, with some composers even preferring different tunings at different times in their lives. However, it is often hard to determine exactly what these tunings were.

Historically informed performances of Baroque music are usually in "chamber pitch" (tuned about a semitone down compared to modern concert pitch; see Pitch (music)#Historical pitch standards).

Issues in historically informed performance The perceived esthetic benefits of historically informed performance vary with what kind of music is being played. In rough terms, they can be characterized as follows.









Variety of opinion Opinions on the historically informed performance movement vary widely, from very strong support to very strong opposition.

A generally skeptical but moderated position has been taken byCharles Rosen, a distinguished traditional classical musician andauthor on music. One criticism Rosen has made is that the spread ofthe historically informed performance movement has depended very heavily on the recording industry. This results from two factors. First, the lower volume of authentic performance instruments means they tend to be ineffective in large modern concert halls, so that live performance is difficult to sustain financially. Second, the unstable intonation and lesser reliability of early instruments means that a high-quality performance is most easily obtained in the recording studio, where multiple takes can be spliced together to iron out mistakes, and it is possible to interrupt the music frequently to retune the instruments. A musical culture based predominantly on recordings is arguably an impoverished one, given that most listeners respond more intensely to a live performance than to a recording.

"The study of old instruments and historic performance practice has taught us a great deal, but the main point, the impact of harmony, has been ignored." (Daniel Barenboim)

American musicologist and conductor of Renaissance choral music, Richard Taruskin, discusses some flaws in the case for historically informed performance in his treatise Text and Act.

Overdependence on scholarship can result in dry and uncompelling performances, as the role of interpretation is diminished.

Also, some listeners who enjoy absolute pitch are disturbed by fact that historically informed performances often use a lower pitch than traditional performances (415Hz vs 440Hz). And some players and ensembles adopt yet another pitch like 390Hz for early baroque music or 430Hz to play Mozart's or Beethoven's music, which makes the whole situation even more confusing for those people.

There are many listeners who enjoy both historically informed performances and traditional performances. Such listeners might, for instance, enjoy Malcolm Bilson's vivid and stylish authentic performances of Joseph Haydn's piano sonatas on a replica 18th century piano, but also enjoy Vladimir Horowitz's interestingly idiosyncratic (and quite heavily pedaled) performances of the same works on a modern concert grand.. Nicolas Harnoncourt has conducted the Consentus Musicus of Vienna for over 50 years, and he combines historical awareness with a highly individual approach.

See also

References

Bibliography

External links



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