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    End of Early Music

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    The End of Early Music - Bruce Haynes

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    Ashitaka
    End of Early Music

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    The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes OXFORD 2007 Re Suh Tae Tomes Sea ae, ae ae 0207 ete ere gies yee enti ener (hos omc his a ‘This book i dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of musi, and Jon. Honored and Honorary Doctor of broken-hearted harmony, ‘whoa I humbly invite tobe its patronesses ‘We're captive oa the carousel of time, ‘Wecan't return, we ean only look behind fom where we etme {Dr Joni Mitchell, “The Cicle Game,” 1966) Preface Filings took fll of words about muss, am conscious fob Hawkins remark in is book on music istry of 1776 “Teadtion only whispers fea shore tine, the name and abies ofa mee Perfores, however ‘equi the dlighe which hi talents afforded to those who hse hy snheresr a theory once commited paper and exeablihedy ity at eat invari, a longa he Language in which i wa wate” ‘Music moves on, wie words rnin bebind. But even when rat write, words have dificil caprving the eens ofa sujet aera ‘en unc “Gran that an endl he Bok of ak tha ever veee wrote” writes Roger Noh that ineshausile fon of mia wis ‘dom, "T shall mot allow that mick sor an be nertood oto eet, nombre thas the tare of meats tof cooks espe hooks "= "sujet ikem beckons, iting ut ep yng though we knoe we wll nd up with moe question ham snrwery Fk, ‘reat atst that he was caught jst the ght spit of reoncing the ast. ‘eof oor imaginations with the ines ofthe ascomplshnens of ut Shor es "ove ben in lore with ping er nce hea consi oath age ‘ha (as stn wg ay god when wa yb ely nha ore the ge seventy wa ay vale a al A ee Thee have at eg ry ape eid, sna a ‘en prey Wh egy sh ave deve i ate, aw ely ae te see of a ty, Whe ec ed wa Pref ny wok wil Be ty ins yal wile aie cur the ‘afenc hata ey hen very sand doe dew wil embod EEL atet youl se gang ole selon, Troms tober “rs long, vita brevis” Hokus only lied the age of 89 Hy sohe was UM erp his exravopane promi, doube Be was surprised or even UHeappmte, We humans do what we can do, and if we are fcky, we take plesbore fom As Okara Kako sumed i ups th nen fen nati ink ster inthe Open sa ‘Biante we pop eae pend cise etalk ough sd concen bane Po TURD Te ind Wye ve dn tne sere unseat Wena Nha sea igetaT gd nen team e get ae Tilt tchne spf ese sono rhe whet tones btn mah ah sine he nbn co Lo eo vnc ein he tel eks s “Te oinon writen here abou mater of sg, performance the com ‘Maton a emote eer eponrs do ean ret on te “thor epowleTiy arent peso eetonson he pret TRESS Eisen ied peesrnce movement no 2 FP se thane pmo ew of someone wh hx ern vated nt ict ‘ere 1900 Roger Nothin 1728 speak foe he~peraps for us See cman“ have ee on ahd nt wel kno my ome ‘tou ad rove ad sewed Shem a thn othe mo By ‘Tt ayey and fonds fing sppeaed oleh. ‘Deguchi hyn Wh ok they ma nse spent to wet dw Your ow, Acknowledgments Matheson cies Sartorius swing prof shoe co make the poi tha Voto no eta an, “eis noe done with one" ‘So many peuple en meds wl suey nto mame some of them Thee yes ago, the Canada Counc forthe Are genrouly offered ime the Sebi Fellowship for 2003 v9 “write and revew my owe though” hich consti this book, What yu can ss holding iin your hands the rest pense Lave had in voting mot of my we Ing hours otis projet andthe remendoue fring curve epcents Forme begin, shen, by honking the Coun fc supp of hind ‘many ctr pees promised the Canada Coun ths would not be 3 hook of mac logical fesetch, and Tve Hep that promise feten have read stom of tooks, many of them by musiologis, in peeping i). Fora whe [ though | might even avoid the ned for cations ty debe coy thers before me tt mach ton pres For that. {As always for mp abiding love of mse andthe part of under stand Ihave my parents to thank, who introduced i eat om and Shared is joys wth meal tough their ves. Tao take plese and pride in naming ive ovsanding msiane who were Kindenough st vee fos ies to have acted as my musical mentors: Ross Taylor, Alam Cu ti Pans Beigen, Siva Kuiken and Gay Leonhard ave also Tetned much and bad major help formulating ese fom my contact NUE Reeser t etre tetera ree SER eer Sce race eee treed ee with an exraoedinany musiian, Sie Napper (with whom Lave the rou lrcme to share lie ad the parentage ere ele), The wens ihn book are nt ecenry hes though T hope they would enoy midering some hen, ote pin {ave pu om them. For advce and encouragement wth this book would keto warmly hon Nechlas Avery, Cec dking, Tom Bega, Aledo Bernardi, fay esl Trnava Bers, fo lack Josep Boas, Jeane Bot, Joe owen, Geothey Barges, fb But, Michal Cole Ly van Dac Sand Dalton, Rows Duin, Ur Golomb Pt Gant, Peggy Gries Arr ss, Seve Hammer, Stevan Hara, Anas Haynes, Keth Fi, Robes Hi esc Holm Alan} Howlett, Roland Jackson, Mary Kitkpatric, Bart Kaien, Ange Laberge, ean Lamon, Mare- Olivier Lamontagne, Brad Eechmar, Mathiay Mauiey Washington MeClan, Bill Metal, Set Metcalle, Winked Michel, Catherine Motu, Kate van Orden, Richard Gaeotsk, Smacks Owens, Tim Paradise, Meg Paredes, Mathew Pesceman, Jose Rest Joss Riki, Noel Salmond, Jalen Saulin, Skip Sompé Steve bbe, Tet Noe! Tome, Peter Wall, Nat Watson, J ‘Webs Jom Wie stots ol my si ey interesting raduate emis 2 Mel Univesy in 2005-2007, those who listened to ny ete at the ESMUCn Rrcelons in 2003 sd 2008 and tthe Amsterdam Con ‘Creaory in 2003 ann umber of hes who Tope wl forgive me for empuray Tos of meno. inal wold ike to ay word forthe uit but important up poet hat Oxford Universi Pes has Been afering to the historically Fcted rnc wo Fro he five mos portant Books tha eis line leans ona published by OUP, a the indispensable journal arty Ist Pn personaly gras for tbe support and asitance of number fhe editors of thie book, scading Sanne Ryan, Noxman Tischy, Robert Mia, and Uynn Chiles. Credite 1 shank the following publishers for permission o use excep from these sour: The Cc Game, Woeds and Musiby JONTMIFTCHELL, 1S 196e (Renewed), CRAZY CROW MUSIC (BNA AIT RightsReserved aedy Rermision, Chisel cleo fom pages2, 16,220, 265,272,464, 42es and 421 of Masking: The Meanings of Performing ‘ant Liscnong© 1998 by Chistopher Sonal and repened withthe pe tmosion of Wesleyan Unversity Press Nikolaus Harnoncourt, Mua ls “umgrde, © 1982 Resilene Verlag Salty Frm Clascl and Ro ant erformin Practice by Brows C (199). By persion of Oxford University ree From Text and Acts Esa on Masi and Peformance byrTarakin, Rc 1996). By penmisson of Oxford University Press. Contents Lintof Recorded Eerie Imsoducion 3 LUercy = The Rene Revition~ Canon and niin Peer gt = Sven) = Mo ‘cae Qt for Auheiy = Te of ay Mas “Muicking = Teminiogy and Compe PART 1 Performing Styles (Chapter When You Say Something Diller You Say Something Different 19 -SoyelsTat Which econ Uns” = notion Fag the Cooktck = Chrome “Mos at Fons Te Rie CChapee 2. Mind the Gap Curent Siler 32 Thee Abstractions Ronis; Modem, a ial Sles = Romane Sipe: An Able = Rev Tat acumen th Heart of Rete Chapter 1, “The Rainbow and the Kaleidoscope Romantic Pinang Compared with Baroque 184 Figures and Geses ~ Faas of Melo Fes = Cores tthe Ane ~ Order or evel of Meaning ‘Conran hat» non ddl Nee Shops “The End of "Early" Music Chapie 12, Pasive and Acie Musicing ‘Stop Staring and Gro Your Ou 203 The Cave a Mensaiy ~ Paying in the Wind = Gracin The Tone sen Compound ete ~ Inova: The Dominate Paforer = Syke Copying Comoe Rall oer Tectonen = Thats the Gent Bates Two xa of rec Day ea Composag = Dene Labels = Our Ov Msc Chapter 13, Perpetaal Revlaion 215, The Mash of Fok nd Ma Mens List Whar Tse ill Ate = Tein an Uren storming Se om Mua Tine Owe = esoven Ltr Manet Destiny = spor Revlon a Changing Tae = HIP Alsi ‘ett k= Han of Nes ~ Trying See ver Vie Hon of Tne ~The Pasa of Rte owes 229 ivigrapicAbevntions 248 Diigrphy 281 I ee eee List of Recorded Excerpts The ecorded excerpt are aval on the companion website wwoup comes Excerpts ae maked inthe text with the following yea 1. Amsterdam Baroque Orchestra, Koopman, 1996, Bach: Cantata 2074/1 Ero, Tack 1. 0-027 2 Mosca Amiga Kal, Goebel, 1996, Bac Camata 2071. Archiv Track 1-0-0398 3. Unnamed Orchestra, Stkowakiy 1957, Rach: Getic ied “Kem, sine Tek" BMUV 474 ee Stokowsk, EMI Class 7243 5 6634528, Tack 2, 202-250 4. Sarah Brightman, 2001, Hand “Lascia ei pianga-” Angel 7243 5 33257 25, Tack 6, 0-051 5, StieLeBlane, 2002, Handa“ i pang.” Atma ACD 2 3260. Trak 40-0532 6 Concens Masia, Haraoncourt, 1981/83, Bach: Brandenburg 222 Ula, LC 6019. Tack 20-027 7. Batn Festival Orshests, Menuhin, [2 erly 196) Bach: Braden ‘ng.22, EMI Class, 7243 5 68516 2 7! Track 6, 00:33, 8, Phillelphia Orchestra, Stokowai, 1928. Bache Brandenburg 22 Andante rg Vietoth ISBN 0971276463. Teack 211. O44 9 ‘aking Pat 1905. Nac: "Voi che sapere” Nimbus, NI Fora Tack 2, 220-end Sap rETE UTE TESTE TESTE TOTERTETS EATS ATS: SATS SESCSOCESCETES OES SCTE STgTE SETS ESTE ESTE ETE StRS StS Ste Rise StESE CESSES = Lit of Rear cepts 10, Concengebouw Orcs, Astedam Toonkunst Choi, Menge ere 1959, Bache "Wir scten uns ie Tenens” St Nate Dyson, Naxoe 8 11O880-82. Tack $1. 6585-7:50 11, Galil Conon ePaper MeCecesh, 2002, Back "Wt staen fait Tanen ieee” Se Matthew Psion Archi 474 200-2. Tack 2, 500-531 12, Unnamed Orchest, Stokes 1957. Bach: Aig Site 3, BY 168 (iron he C ting) EM Chasis, 7243 566388 28, race 8 110-210 13. Akademi fit Ale Musi, 1995. Bach: Aig Suite 3, BWV 1068, [arom the string"), Harmonia Mun MX 3908074.77, “rack 2, Do2-124 14, Mesa Moreschi 1904, Bal/Gounods “Ave Mari.” DG, 14590682. Tack 2. 083-1683 15, Wanda Landowska, 1933. Bach: Goldberg Variations, theme, EM Clams, 7243 5 4720022. Tack 1, 2-114 0-031 16, Wand Landowsta, 1958 eh: Goldberg Variations #13. EMI Chasse, 72435 6720022, 038-1223 17, Gass Leonard, 1965 Bach: Goldberg Variasons, #13. Tees, Teed Tack 44. 035-119 48, Phere Hana 2003, Bach; Goldberg Varitions, #13. Mir, MIR 9945, Teck 140584119 19, Robert Hill 2004, Bach: Goldberg Variations, #13. Private fecoing. Tack 34.0321 20, rans riggen ad Frans Vester 1963. Telemann: Concert, {nino Rec and Ts Tele ASIN: BOODOOOST Track 8 00:46. 24, Belen, Bila, Leonhard 1982. Handel HWW 365, 3d ment, Telefe 6.38359. 2. 0-48 22, ‘Bekgen ion, Leona, 1973, Handel HWY 365, emu, ARC Classis, ABCL-6700873, 3, 0-019 2. igen Bon, Leone, 1962, Handel HWY 340, 3 ‘Teen: 638389. 4 0-0°38 | 24, Briggen Bina, Leonhardt, 197374, Handel HWY 360, Biwi eck 50-0338 25, Unnamed Orchestra, tokowski 1957, Bach: BWV S65, ae Stokowsks EMM Claws 7243 566385 2. Teak 11. 0-0:46 26, Lon Angels Philtaronc Salonen, 1999, Backs BWV S65, te Sokowsl, Sony Claseal SKS®O13. Track 1. 0-0:50, 27, Tein Pilon, Karajan, 1952, Bach; Mass in B-Mino, est Kye bars 30-34, EME Angel 3800 C (3501567 later ees vit Releenos CHS 763505-2, EMT Cnc § 672072 5.0-0:12 28, Amwterdam Baroque Orchestra, Koopman, 1994 Bach: Mas in [B Mino Fest Kye bes 30-36 ent 4509-98478-2. 040.31 29, Joseph rch 1903 Bach: Adagio om gino sl vin Sonata: Opal, CD 9K Tack 2. 0-040 | a a as 26. 5 ws. ». 2. 4 4s 4 ”. 4s tf Rack xcept wi ‘Yehud Menuhin, 1935. ch: Adagio from gino ol iin sont EN Clases, 7243 5 67198. Track 1:1 0-049 Tey ran Dac 1996 Bach: Ada rom pine so kin sont, Naxoe. Tack La. 0-0:34 ‘Vienna Phiharmonic, Hien, Faring, 1954, Bach: “Erbarme dhs" St Matthew Passion. EMI Chassis Teack 29, 116-183, Kesh, Romantic obo, M Fretnhausen, 1. Ring. Bache Canta 18715 Hasler CD 92.086 Trak 22-039 Be Tlayes, hattboy, Mz Emmermant Leonard 1989. Back: (Contta 1878 Teldoc 819836 ZL, 244192, Teak 2:50-0:58 rte Krier, 1911 Keiser Lebeled. DG, 4590652, Teak 13. ose Joshua Bll, 1996, Kisser Liss Desa, 44408. Track 7 on IM. Petrand G. Macon, 1984, Marcello: arg, Sonata, Philips, AM eteed Tack 2, 039-1025 Steve Wonder and Take 61992, “O thou that lle god sings to Zin,” Handels Mesah: A Soul Celebration, set by Mery Warren Reprie 9269802. Track 80-085 Load Consort, Equi, Leonhardt, 1987. Bas “Jesu, oes “odes Tod” in BWV 155, Tee, Das Kantatenserk oh 3 oo Sach oll Japan Sakurads, Sapa 1996 Bas “Jn, ‘eines Toes Fo” BW 168 BI, CD-801. Track 13.0°026 {eonbardt Conor, Keckler D. Sather, G. Leonhaed, 1976. Bach: BWY SS. Teldce Konatenwerk vol, Teack 5 toa Bach Ensemble, Baird, Holmgren, Rifkin, 1986, Bach BWV SUS. Flora 17 6162, Track 120-021 Bach Ensembl, Shopper Rikin, 1995-96, Bas “Searkes Lieber BWY 182: Borin DOK 98231, Tack 4. 0-051 Arsterdam Barogue Orchestra, Mertens Koopman, 1995, Bach “Stakes Lice,” BWV 18204 Festa O630-12598-. Track wos Heys Fight, 1997. Clemens non Paps go flo camp ster, KIC IDM, Track 1, €D 16596, 0-048 Concert allan, 1998, Monteverdi Secondo Libro, "Non levavaancr Vala novell.” Opu 111,005 30-111 Teac bois. 06 Comps Barocco, Cars, 1996. Monteverde: Lamento dela ‘inf Vigin Class, 7248 § 45302 27. Track 8, CD 12778 2av0 Complesso Basco, Cuts, 1996, Monteverde "Or chee” ‘irin Clas, 7243545502 27 Tac 17. CD 12778 ®. 50. 2 5 ss 56, 2. ss 9. «0. a. 6 6. 7. of Randel xcs oan Bll, 1996, Kreiner: La Pius alleged o be by Louis Couperin: Dece, 4409. Track $. 0-052 Gall Conse Ply, MeCreah, 2002. Bach: °O Mensch, twin dein Sine ro” St Matthew Pasion. Archiv 474 200-2, Track 129. 518-600 alba: Romance (1779), fam LP produced to accompany Fp of Flr 1979, Maszal Box Soci 00:58 ie Sut, eephanc Grappa), Dango Reinhard, Paul Cor ‘Sonics Pars 1987 Bch: Doable Vila Concert (owing ve ‘Son), The Chronoogieal Ede Sout, Classis Records, 737, ASIN BOODOOINOIL Tack 2 050-1548 ‘Ship Sempe, 2004, Louis Couperin: Pavane inf. Alphs O66 Track §: 0-105 Gienn Gould hgpsichord). SMR 52 590. Trak 1.0.48 (Gen Gould haepsichord). Handel: HWY 428, Sony Clas, SMK 52590, Trak 9.0-0:57 {Gustav Leonhard, 1991. Forgeray: La Moran. Sony Viarts, SK 48 O80. Track 5 tes Skowronceksigied “Nichols Lele, Rev CL. Franklin. Legendary sermon [eaey 1950s) Universal ‘Music Seca, MCAD21145. Tracks 12. 649-7148 .Giedio Atmonico, Cacia Bae, 1988, Vad Tar Desen,249 466 369-2, Teac 4 12-1:52, Us Ars Floris, Coté, Chistie, 1992, Rameau: Castor Potter Acti Seance 1 and 2 Pll sie Nate, Aout” “each 2. 021-120 Concent Musi, Soszay, Harnoncourt, 1972; Ramet: Castor etoile: As Scene 1. Pella "Nature, Amu” Tele, 35048, 020-116 Concent Musics, Souray, Harnoncourt, 1972 Ramen: Castor er Poll: Ac, Scene 2: Polls rece. Teldec, 8.39048. 0-029 ‘nsterdam Baroque Orchestra, Mtns, Koopman, 2001, Bac (Cantata 135. dome Mlarebond 2:36-322 Concertgebouw Orchestra, Daigo, Mengelber, 1999. Bach “Erhorme iy” SMe Paton Naor 8-1 10880-82, Track 214, 0-111 Amtedam Baroque Orcheste,Pézadien, Koopman, 195. Tach Cantata 1724, A. Marchand, Track 33, 0-023 eonhasde Consort, Alena, Leonard, 1987, Bach: Cantata 1721 Tele, Tack 11, 0-056 Haynes, Nappe Hass, 198, F Couperin, Spiéme Concert, Istmorement, Atma, ACD 2 2168, ack 2 Complete Haynes, Taylor, Nappet Pot, 1998, Bach Comat 1162 ‘ama, ACD 23158. Track 5. 0-10) nde: HUY 426, Sony Casal, Qua ave “. 7, i of Rendle os Simic Napper 2005, Corre 3 f ed movement fom the Sot | “The phrases “take «stand and become a belive” and "The stn shoal tke postion,” may sound overdone nowadays bt they rect tome ofthe 2a of what sometines called a crea the egos tertone snot insppropriate) or “movement” (with 3 suggestion a po Titel pots) The “vehemence and slerghteowsaest” of thee players seas shed by composers ofthe same generation; New music aod “Eady Iose” were the ein movements for ent al change. “Thereof Pin the id 1960s crested “fork the oad” tht re sired rnscans fo choose a dietion when they performed historia ‘ni Iemeant ha thom who chose wo stck with radon sod Modern Sle dds either ot ofa seme of convctonor by fining rtonal for eetngPeiod musicking, Modern se salo a setement of tent whe iis applied to Rhetorical peti, t deliberately wes anach isc insteaments and ignores major elements of egal stle even when they are availabe Guru Style: Rhetoric without the Name aban writes that when Grigen, Leonhard, and Harmoncour started Playing in Paved style they "shocked many contemporary Ieeners”| ‘who considered the playing “manners exaggerations or frbonable trends" She ompates the secorings by Leonhard, Harnoncourt, nd (urpesingly Casals where Bac’s Mawr and Atsiogen ae teeted a graces and fer “es intense tone production, xi, gly slate the groups, contest uae, deviled dyna manne Shorter than writen value n cae of longer noes, vcd types il ‘obvious cadences snd lary of roctures = ‘Ase pots ot, the earl reedings of the Concentas Musics ‘ing orga insteuments, when tend to today, don acer to be pe esting prtorming protools iferen ons Modern ele." ‘The dilerener cemed lage the of cours, sid thee wate Gucton hats new syle was developing ‘A sriking comparison of Modern and Period spe an be heard on she two recorngs othe Handel sore sonatas by rane Bigger the ‘ame pieces wit the sane contin players Gustav Leonhardt ad Aner Hjtote-made in 962 anda decade ltr Like all pertoxmersin theese 1960s, hese musicians were products of Modern se edication. The Monde Gap ” lar eording made in the 1970s ina syle that hey hain the mean tise vealy invented. Thee ecordigs document the proces trough ‘which the Datch version of Pride now paced artund the worl) Was developed daring the 196052 Bsn commented, “Fou compare ‘ld teconings by Frans Brgen wih his ler ones, you can eat the “evonmous change shat has taken place seas abou musi makes ‘ou wondce Was he wrong tent Or he wrong now? Where's the mis. fake? Ther no mistake. Tey rest aie al long wth yu, st [sth moon tenelleng witha” © svo1 samen 21. tegen, Bibs, Leonhardt, 1962, Handel WV 365, inv © svo10 samen 2. Baga, Bons, Leonhard, 1973, Handel HWWV 365, Khe © suo1 samere 25. Bigee, Biba, Leonhard, 1962. Hand WV 360, mnie © sv010 savore. 24. eigue, Bima, Leonhardt, 197374 Handel HWV 360, ov An intresting iesigh into how performing style develop i offer ty Joné Bowen wo dessin ome deta the Wtor of fra te (Rond Midnight), showing how the performing both example and {sition and that very mail performance makes wesc oss ofthe msl ‘Kedopr radon The tial erfsemances have the aye hi the Sin gi lather hansen ler eso cea ae one ‘atone Then hows ons eson ys Wms wl po ‘Styne fo sar parece, bn ise pn tobe ete ‘he cena ape endgame the Diy Cie ad is Dat ‘es hl hey ee Inthe same way, the stl guru ofthe decade 1968-75 began with goof do ey but the oger they played the more hi ovations came standard” andthe ee variation sane posible Now with Pe ‘id style established as a recognized xn wed by musicians everyaere, ‘rationale to explain eis Bening to present el. A wl cs in pur, hile appears to be thelial outcome ofthe application of Principles of Wheto alhough in he 1960 le was now abot 3 Mainstream Style “Chops, but No Soul” Imagine you tur onthe radio and ear the second movement of Bea enrg2 fer two bats fyou'Fe an experienced listenc you know its 1 Moder ensemble playing not Period one What do you hes ha ps ow off Perpetual sound ofthe state For mes Aisa of detail that add up to. very dilerene gener sys thing Tie + “seams gat, continous and strong vibe, 4 lomgineprssng, lack of beat hierarchy, myelin eps, rated disonanes, ily equal eth ores “There was tne, after World We TL, whe this was the only stl “Thc was she way twas done excep for afew outdated cogs, sil oling ou for the ld Romantic sctimentatis Mondera se, you may have noid, mo one Tenoy mich, a eas ‘when it used for performing Rctoreal mse rbas place and ora ‘vey limited tepeetoite of Stavinsky and the Neola 3 the most Sppropriate syle around. The problem is tht has speed vo maaes Sober ats arses damper since ts practices aes dill (ot rom ether Hogue o Romantic syle, Manne Se ° Modernism and Moder Style The way we ply today dct ret a polenica suasae hat ens tree quarters ofa cetury ago."* Modem tls which became the norm Inthe 1930s omen exeenc to srole aa rection to Remain, Anat ephly n-sentmentl approach to pfoemane void iden an ame to dominate ce he ong ‘eto Toni Gore a Hea Shere ao a Reeth ‘non of Aor Ssh Real Sek apd le onl nd id Sra tevin Spied by Jose nie ond oh alte Marder syle th principal performing protocol pesentl taht incom servatore ll ve the world le spi summarized by a mcsinct psc ‘of graft found i the bathroom ean Aten conservatory “Chops, tht sou Robert Hil esctibsthe appearance of Modes ike his: nthe pti nay flowing she Fr World Wg 3 se ai sath inagiataa sheWesurn man AP psn ‘me eat Rad fen peering ome for many dae, Bly inet snc Rema ache mess vewpe cog in olen heal of seltapgramizing performance besviout, condensation of expres Shepgertion tbe to cholo tow ie nner They ‘Bice eames nh anor opt oe spe ge ‘of nerpeve rg, ad very pct hares tomas tion of ep a apo ce “The test tha distinguish Modern spe appa ro ws ro be almost all negative compared wth Romane neers raisons ein emp, eral reading of doing nd other rth dees rd “sonances le unstressed. Moderna pedis he muscal equivalent fof “pital eects.” TF Romantic protocol was heavy, personal onze, pontancous mpalive euganot and exact, Modern se the reves ih impersonal mechanical tea core deliberate consent meto- ‘omy snd pula: Moderniss lok for dipine and ling ile they ‘dagarage Romane perloemance foe i excenve rabat, Clea ‘elindlgent posturing, nd is sentioeraiy,Tawakin cls Modernism “refuge inorder and peeson, ost co subject to the vagaries of persona” Te charceied by formal clay, enorona deachner, orden and precision ‘Aste rch Moves, Savinsy is often ble for shi went century “objetive peformancestie" Amuro Toanin was aloo Jnlaece in ereating the Modernist concert smenphere tha i sl cor ‘ent Toscanit hasbeen called 3 "New Psa” a believer tn playing so Pefrmin Se nothing mote and noting ess than what the ati comper ote ona ge, "Com & crit." Modems concerns sre ccracy ad good a "onation realism in eadng sors, automat (Le, predictable) tempo ‘limited personal exresion. Mase redaced to abe mathemati, Fctioning ike an aeomaton Allthetiteend hemi wll othe new twentieth entry fa torin performance reoeding [Accuracy and good sonst are needed ‘hen fecoedings ae stenedto—as they arerepeatelly Literal and Tinted expression ae useful i one asco combine may take the lst individual each ae has, he more interchange 3). Bu as ales apply to retires ram hetore the modernise they at of dows Appel, A Robere Hill upget, Modernist principles “probably ser ‘tly dso the countenance sod the ‘meses of eater reperones and Consequently heir fet onthe stnce™= mone respect, Moser styles uigue. Tha i in is prominent we of continaons vibrato. We tink of continous viata 8 lgacy of Romantic yl, bu ibeato dl noe Become continous on stings at the 19205, when Moder sel was taking ver On sind, appered ‘ound ther of entry France, inthe 1950s gland except for Goons, who started wring in the 1910s), but ot Asien ter 1945 "Mover syle has wrought a sigan wansformaion in how the “Classes sound. A rare and interesting comparison of Romantic syle snd Moder syle i ffered by two recording Stolowsk's argent ‘facts Toceata and Fugue, BWV 565, hich he orden 1957-3 ‘eas eccenly erecorded by Salonen and the Loe Angles Phlhartonic: Here isa double stylistic overiay Stokowa in (ore le) Romani syle over Bach and Salonen in Modern spe over Stokowsk, © auv10 samme: 25. Unnamed Orchestrs, Stokowski, 1957, Bach [WY S65, ar Seokowaks ® sos Bach BWV 56 PLE:26. Los Angeles Piarmonic, Salonen, 1999 sare Stkowsks “To judge from che emo ecrdngs, we hae lost ch in subsiing Modern sie or Romantic sve. Linenersheringthe Salonen version ck csi iagine the msc writen down rend ely. Senko ‘Hecs are ess cleag more imprest: Stkowsks version ie que ‘moving, and his players play a they are commuted co the music: Slo ‘en icy by comparzos the misicins d n sce to be favalved and ‘end to ply mechanically but with rest yecion. In its veernence, Stokowaki performance almost oof onto at tnes (a how lathe rings cational. He ako changes topo, speeding ap ad sown ‘lwn,iaspied by the muse, presuma Salonen keeps steady, com trolled fempo, changing onl lightly at setions never within a secon Rind now stone are much lst marked in Salonen than Soko The intensity ofthe Moder diate for Romie secon be limped by comparing our own ates owarde Remarc tle: Moat usians aways regard patronizing ai “bad taste” and ies Consider sentimental a word ote ein the 19908 when the Mod: frais wee tacking Romain Other words that deste Romie tle are "shal and won the sleeve.” Morn ales, by compa: feo, ar enealy een by musicians “good musicianship.” ‘Ur Golomi recounts bow Bac large scl veal works, which oa ler inthe entry hed been performed in onumeneal Remade mods, ne under Moder control Heiter 2 ~puerang attack om romantic Bich performance" by Wild Gait in 1881 that way syabolc ofthe turning ide vosard posit, expesively restated Bach who never kenew lear cescendos or dctscendos or gaudy rubato”” Gurites omens resemble thos of Stravinsky "the evo writers share a disdain tewarde romantica in Bach performance.” Fabian notes tat eecrdinge of the randenburgs fom che 19503 and 1960 seem ‘ove for a ssid with ary any ces beathing oF ing of thew. nese one peeton, dame shaped fone pansy et ‘ncn hv a ope mg he at ‘outpace a fhe ene es ore ie eon This good description of Modern syle. This is where we all cme from, desaly ot pertormer or through out teaches, whe al pled that wo. ‘The Performance Practices of Romantic Style ‘and Modern Style Compared Lets begin by desibing, Romantic sl, aferwards considering how Modeen nye fers ram The main eb of Romane syle are + portamento fn sing instruments an abe change of positon, eal) 1 Sezeme legato, 4 Tack of precnon not deliberate) {tempos that are sully slower an anyone would ase today, ‘ck of ditincon becween important and wnimpocant bet, doe ‘an unelentnghenvines ana surft of emphasis, 2 Performing Ses + melo based phrasing, 1 Seaggeaed solemnity 1 Gone for expreson, 4 Contd ws f vba, See se emp ine Potameta is probably the most ay recognizable ait of Romar sic syle Ir fequeity and besutflly aed in both Furtwrnglers ond ‘Mengelbergs St. Mate recordin: Portamento tend lend emphasis and tenderness to a passage. Hse o have become prominent among tome violins inthe le quarter of th eighteenth cent radon ‘var thoughe to have originated wth singers Sale lied a 1811 that Ihad heen recently introduce.” Recordings that we are dete tow a old old-plerecordings are of curse Romani, nan nteriew made in 1977 when be mas 88 Si dian Bout de- scriked to Peter Wadd the deme inthe 12905 of the portamento syn of Romarsicisns jist ot on Qe sen People i tk ‘oat you know ist hap Ad oe suet reels ee ear het dheing pyng ech clara hy. se th Bad hen, and this soppy perce ist peas. re Why a tac we? sly wa soppy. maa, wor Priel wasn? fn eh ia Ihe rating i was ita yf of ing up prin, bist thee te Yung Bringing tees to anyone eyes i not a privy of Modernism "Mn lous difrence between Period and Romane nls isthe moune of lito. By the ging ofthe intent century a neresee inthe use of a ested in sources ("hing the ates together “hike ray gun" as Quanez described an amount of gat that he ‘considered exces. An intance x Clemens "est le” for pats in {HOT When action wes nor nated ina piece, Clement gested "to adhere che ly tothe ica; reserving the svAccA10 to iv SUIT ‘occsionaly cera passages sd to et off tbe wcnteREAUTIS athe {caro."? (Romance relly talked ike this) The longline, by its ture, ple epee approach, The mos connected possible way of pla ingasparate bow stoker on vin wns the "pd detache” eloped a thelatecightcenth and early nineteenth center. The new design of eyed ‘woodwinds hat were coming into vogue at hime take more presse to play soplayesare reluctant wo stop and ste apn this matches het tse ofthe longline phrase The standard Baro nstrmenty sng ‘uch es presse tmboochate, breath, ouch oF bow, can Be stopped Sind stared ce ea Maintroom Se ss Legato isa lepay of Romani style, and it had become so pesasive that tlre Kel, nh flea book Pheasing and Artaton {0955}, compared ito slgion: Jus at Schlermacher defined eligion tthe absolute dependency upon and connestion ofthe invdual 0 ‘Gat 0 00 legato musi the symbol nf connectedness, of prvers ton indeed of eompleteness, or of uly before music" Tents enfuy musicians mee probly onaware ofthe "huey guy” ffect of ‘he "sesmlos” legato Moda sil, undetectable sou own acces 'Reamparison was not posible ntl the appearance of Period se “Another cay et eae in bath Romantic and Meer tyes ithe asin, Phrates profile stractraldssion nthe msi epg to la {yitemeanig and musta grammar The Romantic ers developed anew {end of sper gat phrase known asthe cima or line pre ‘soften taken mone breath oe ow starts soy and buds to 3 "goal™ fechas” and then diner. The lon line phrase was lead being "hgh abou inthe 1770s, wat developed i the eal nineteenth ce fury and had become dominant at asta decade before 1850." This kind ‘of pase necsatily refs in tela crescendos ad diminuendos that fre out of proportion eo the brief figures or gestres that make up a Throque melodie line Appi o Baroque pice, the longline pease Comet eros as 0 gritos and meainge cecrndo cr dninnedo Longline pracy, bat, and. general legato sound ate ubgutous it Romane std Modern performance, and tether ceate the famous patina” that anes ante obscures recordings of Bach made nthe ely enh centr. Related othe Tonge phrase the expressive crscondo, an ade resend hat has noflton tthe grammar” of the piece The expres ‘Sve erecendo fe pstitoie nd arbitrary fe resent sed by Peso “crels for dynamic varey oto indicate “emotion” “The cay recordings Ue bard are generally sell nt wgee and ot aay i tune Iesounds ana they wee hiking ofthe age motors ‘oe ha genes impression of diferent atade toward precision and onsstency Mistakes were tolerate perhaps ecase ofthe way recor ings were made Back then. Robert Philp describes erty twenties “enury rythm ae sounding “somewhat chai. [bt there a formality, sn improvisational quakty about ie. There an impeston ‘hae could all be diferent at the next performance." He noes the comment ofa masician who payed with Joachion, To play withthe Od Man s darned dul Alwaysa diferene tempoya diferent accent." ‘Comparsd the conssenyof Modern sy nd hie ndgence tendering Brown comments onthe sme set, Throughout the fiat cniry [bere wat a expect] tha per former woul my te writen tabon a wae of e obenre swe hcl rsh hohe degra re ranors ores esi emt, re bale sh so Paformin Se ‘ermer pads conus bat ances" Furnes the atch Romans, had eepatation for beng pont. neous, Impulsive, ever the same wa Evie Speaking fom personal ee perience this = ot a manner that Toledo with approval ong ‘rascals. Icontency i equated wit lack of profesional “Temposin Romantics ae wualy slower than sayone would con side using today Tn the case of dances, the are so slow and “canta thar their characteristic hythms ae df 0 perceive, and he become ‘neecopiable ss dances “The anal impression given by Romantic musi of an unrelenting beavis dg to too many scene. The Bet birch, 2 porn Bsveque sve and which contiowed tbe preached il he late nine teenth contr, had lsly waned wl god bests are empied 50 te bd bat and every other kind. Packupe ae often played loudly ito thei dowobeats2 Her isan extreme example made 1952, followed bya recent eording ofthe sane passe in Pid ste © sv010 samere 27, neta Phitharmoni, Keron, 1952, Bac Mas in Minot First Kye, bare 30-34 © svvv0 sante: 28. Amsterdam Baroque Orchestra, Koop 1994, Bach: Mass in BeMinos, Fst Kye, bas 30-36 “The exaggrcatel solemn of Romantic styles papable it ekes it responsilites very serowsy, and nothing evee ws off or delivered ‘vith nonchalance ei is monumental imperative msi. To sy Ro anti, mone was eanecendent revelation, 4 rapture contention othe Bosal, Dulin comments, “There it a measured gavty about the perform ance asf the psfonmers were showing a ea eespet forthe ue.” ‘Asan earnest of is seriousness, lst nos i Romane syle are often Played ewo or three times loner than they ate played today and begin ‘ith shimmering vibrate Occasional ele are tolertd out of sense ‘of dy isu Hk) bt once ofthe way the eal” ote with ts Ilo shape begins (races in general are tweated ws aberration, di turbances to che geteral syste) alte oth the stzange inpresion one has of being sala sant land This ithe effec thnk Landowska meant when she wrote of "Enlargements hat make everything appear et and subline aoa they were seen teough a maging lass"? "twas ako sd” se ‘vee “that Backs msi ven teat nortan theme, mmens, Maintrcom Soe ss powell, andcolonal"Why perform one of hi gies,” se asked, “as tere peyer?™ Vibrato, the MSG of Music to Period sy wbeto ewe selectively rather han constant (co dea stenton fo impotent), with varied speed and intensity depending tmexpressivecontest and offen asncited with mar d oe, expressive Syma swell In Modern se ibeato a integrated element of tone quis used continuouly ad aggressively resulting sn 3 constant Feliog of acy snd nervous. Related to the effec of constant rato that ofthe modern uning sytem known 8 equal temperament “The ning choeds in qual emperament gives sim adtenalia rsh, asics very ats n cont othe stably ancl of hep thirds ‘i meantone The more we experiment with tmperament, by the way the more thi sigaicance appar be inthe cxpressvy. We bog to eee that chey exert serene bt enveloping nence om the character ofthe ‘mus Eq temperament che unmg of necessity amongimoder layer, thas known by Rats and Wald contemporaries, bu was nie ie {ssary noe popula ‘Coming bck to irate nthe interview ted above, Sit Ade Boule comment on thereof continuous bro which ke had witese Pree Wand asked hi,“ gather tha t eran stags in] the once teas, someaf the old meres we te [anclese aight playing andthe younger menbers sed the more madera vibrato playing” Sir Advan’ Feply was, "Yes, suppose tha happened seme to lend prety wel Ihe ead ast 3 words unclear but wasn really conscots that the ‘hing was changing very much.” Tes cris that the change was nok shrape day tothe nex tha few see to have Ben aware 3 ferene until everyone wa doing, and lot oe “iat some ono fem gine expreon an mo play? ‘ng and sign The le deny thay popes ee ner roto sou te se ony onto eae eed at ease 3 Joni Ae an thers than cary age en ‘mot 2c sees many eb yes Brown calls this usage “patelyanhistrical," underscoring a basic dit ference between Romani and Mover yes. Vibrato wa ed with is cation and sclectivey im Romantic se, OF couse, there will wo dub omea day whencortant rato alo “histor and asc with {he petod ate 1950, By the early went century, Ysa and Keiser were known for ‘hei brane does sound so strong ome but shee Is deine Tess ‘6 Paring Soe in Joachin’s 1903 eeconding Joachim gan pesfrming in 1839, An in teeing comparison Joachins Adagio om Bach minor sol sonata feat o Menuhin 1935, and van Dal in 1996, These thee record Inge show diferent uss of beat in eles shout 135 year apr © svvv0 sasers: 29. Joseph Jonchi, 1903. Bch: Adapo fom frminor soo violin sna © sun10 sare 50. Yea Menshin, 1935. Bch: Adagio from ‘minor sol violin sonata © sup10 samore 31. Loy van Dac, 1996, Bach: Adagio rom Irminor soo olin sonata Novice Menhin's prominent and constant brat his way’ offesuring {th nots, ging each ne an emphasing to eae thesilences one hers in Josh's Romantic and van Dal Pero (o- ‘oer spe plying Menuhin’ intensity and veerence ace spi of Mover style and aren contrast the lights, geile Afetion erated by Teach and especialy van Dac Some of these dilferences te et ‘sal course, ty mut lo sfc the amt ens the ie "Vibrato emains today contents sje, partlarty with ingore By the 1950 the “wobbly singe” had Beco the nor An example of the use of Modern ste vibrato in the context of general Romantic see isthe alo solos Furewinglers “Erbarme dh receded in 1954." © svo10 sari 52. Vienna Philharmonic, Hotigen, Frewinger 1954, ace “Erbarme dich St. Mathew Pasion Her viet i extreme, aise is singing 8 Wagner opera a the Met tod. The sme arian Menger’ Romani recording of 1939 uses ‘ibeta somewhat more deere Period tle oe tall a ede with Romantic ale. Some ight cemary paces were cai ver ntl renter around 1850 ard a Tew even Tonge Brown points out hat whl thet dea wet trough 8 amacic change in the ist quarter ofthe nineteenth entry, per Tormingprotrcols mitted more slowly. Accoeding to hin, beat hear cliyand overdoing survived thr he nineteenth century ad ito the “vente” Dissonaners, like appoggaturas and chromate noe, con Maintoon Spe ” tinged bestest the nineteenth century. Modern syle abled these sit Tvementioned dhe ago accent, ao known as “empha ngring” Ieinvolues prolonging the ist of «group of our nore in aster pasnges tnd making song Tea technique tha larfes met groupe and tienes Rguraon Quant advised this pratce for mhured pas Ssger tha are to fa for posting pits (note gale] Clive Brow ‘kecribes the gop stent, or What sem very stars the inte eotur. eis arare occurance ft Modern wpe of course, where every Tech nove emphasied Robert Hil argues chat ime the basic performing parameter that Aivides Moser ste from previous ones fecnuse “when the player of fe ime subjectively rather than aabering an external, seolor being decisions mist be genic mute. They mse be pe sed eve lf conding to some Kind of schema lan they cane be “Fepeddced* Fl ses tempo and beat modietion 4 the mos in portant argc of che Moderists- But there were others “he Sitomision that wat St up atthe Vienna Conservatory in the carly 19605 nled among goals the elimination of the vies teamsripion and ago feed ofthe Lasschool [which] have sur ‘ener tothe onpnal verso an to tral goes Hil obverves ‘hatte bas: unspoken message of the “Sl Comannsion” was that te ‘Romani inerpetation al was a kind of nonstoniy, a aeration i ‘mac historg shameful decent into dep of vulgar excess” This "Conmisson” might be considered the sno! of Modems’ recon of mance wl and a return to corre” performing. Most other ‘noteworthy ieences beteen the tv style are estons of dere ‘Marder syle does not share wath Romani spe tendency to melo tally tase pring, ually sow tempo is iene ery, oF Ss indferece to details of accuracy like ensemble and intonation. On the contrary, Modern yl cn be said ive port to ence and mtonation: this obsession with precision is probably deo reoring “The mos bing arribte of Never tle are inherited fro fo- mantic ye the seamless eat, lone hrssing and lack of eat Inerarchy. Bt Mover se mostly defined by he Romantic eis suppress. Dulak dscrbee tay a peace lead deastaly stepped ‘low, reguaized laeed "Te docs ot usualy inet or shape motes, tenphasz the seed hal of potesin syncopations dot note pats ro” portions he than exactly Ss use portamento or ago aces or lace nent racing tall gery or ase rat empor are metronome {nl uniellng Sol Habits deacbed i as “sewing machine” syle, thinking ofthe ‘idly mechanical ethnic approach” the four ely sessed Tet, and she ited lexi in cep that often charts performances ‘of historia eperoite heard in Modern se ss Performing Ses Children of Modernism Moder ye includes the misaropie notions of “pret compliance” fn the “trasparen” performer Fve ls part of review by Vig “Thomson ofa pana rca in 1940 thats aynptomatc ofthe dirbing rinse in Now American music academia following Wold Wa Ih Compre seem fen thane ben especial aggesien avon “academic” nom interpretations "Not one nectaraninepretation ‘one personal fancy, aor one srke below the bly nat a ver of am, mma the univers acceptably of is readings. And if he seems 0 Some le dst es emi ourselves that wenotenes ater al, incre thowe who inkabt Olympos “This sound ke ple especialy the bit about “universal accep bli." Tatkin ts Strains, who had considerable infleneon ro ‘rs mins inthe 192Deand (930s and was anontypokenadvrate ‘ofan “objective” pe of performance, which he called “execaton de fed a the rie pring flee ofan expc wl that oni ot inbeyod what it specially commands." Heeis tbe Uext inprative [ies nocommande, eres” inalis unequivocal epubvens. "The pone hat of scrupulous fidelity to the eter of the ext ad a sect avoidane of anepecied nuance inthe nae of expession, ot Saves igmatzes iim the name of en mmediat and fal sucess ‘hat erste vanity of he person who obtains ad perverts he ae of those who aplad i" Save expect the perorer oat sl less ans ofthe musical work adding nod of thei own characte ride "the hghet quality nan extant is sbmision Thy Day nots Stinky enous) ery ofthe lary hand ede, “eho ‘eps realer strapped in a holter by hisside, and = notehonk in which hemarksa players mses and freachone, sens ito aor ade." Ina gee or, Edward Elgar apparel shared hs way of thnk Jing. Ego sid t have eomplaned that ll his music reed wt [lee alone eo sy what it hel 0 sy in sin we the expression ws {nthe muse, and was not only anmecesory but arf the con Alyse to add to ita expression of i om. Period Style Compared to Modem Silo Anne ma (a moder reincatntion of Lug Bocherin, he famous ‘iaheentrceeury ells dics thes syliicdiflerency on he cele [Asie from physical modifications plying has changed he Tiss epi ‘oder its 2 constant ibeato (on conmnanee and dstonanc like), ‘he avoidence of pen strings (bcrune they ot have eto the desire for inaudible bowechanges instead of sing them for expeeson)y and lea preponderance of sured over separate nots ina sa all ‘hese alterna ending inthe sae dieton: equal" Msintoom Sie » Comparing Period style Mdern sple,the overiing ngesion| omnes rom the way 16 notes are teted—tonsed of or eched ut it fig and dipined equltyhe difference Derwecn a ote scrawled by hand in penal rd tone able cared bya Roman scribe, wonder if inequity famous om the pei eas of "notes neal” and ones pres” i ot in fata bier concept? The abuts of Pero tle Fike phrasing by gesture dynamic muro, sfondi ote shaping, tempo raat, appa acenn and note placing, pases, and teat herarchy al tend torn counter to the predictable the automat the machin ike regelanity of Moder tle. They are wheels with lat Section, crumpled surface, regular and unequal ements that demand Special stenton. Are wesecing ee the paradgnof standardization im Bld inthe Indus Revluton, where «number 2 sew spponed bethe sme dameter, gt, and pitch wherever one goes, wis sees ‘0 lead twaed spline systems ike Landaa metaporof "ans. focming = gothic ated ina skyscraper"? So many mia sajets scm simpler in ther moder versions: equal tempeatent compared 9 ‘rtendedinoiedgular meones a singe pch standard (lb with “tanposing” instruments as pare oft ong line phases compared 0 sre, fit posible tha the hase principle fend ll the ues hat Separate the tw tle Bema “ely?” Tanoring the bet hierarchy im Modern syle often combi’ widh rsd characters + Unimporant notes ate emphasired. Barogue music in Modern Style often described lockoork-lke™osallpaper musi because all noes and al easare given equl weight and va time, Put anor way the wmportane notes ke pst 16th Rave "sul emphasis andar piven a mich how aoe or tonguing 3+ ‘mor import not, grag an impose of eveneeticiu s louse This way of plang abo request of ens. + Wehemence commonly aplied tte of more nuanced ad ve ‘ed expression. Moder pvfoeanees aay ela Here is an example ofa pec played eo ways: The fists earae: teitically Mdee legato even in the fast seton, fe pas, constant ‘to fven onthe lst oe), ye read the vac ropoions to munce within notes face the lw high nse nese the endothe pee) The second reset the revere Hearing the two of them side Fyside may help elaniy the subject ve eos dncusing india noe shaping and dynamic nuance). On the save of teal reading, compare "he rythm ofthe fs gestue in the hawoy pre © avo sammue: 33.1 Koch, Romantic oboe, M. Fresenius, 1H. Rilig Boch Cantata 18718 o Forming Soe © sv0I0 saat: 34.1. Haynes, hantboy, M.Enmermann, G. Leonard 989, Bach Cantata 1875, (Click Track Baroque tn Romantic sl, thee was cleat and pupal vaiton of tempo shin a movemen.Rsbato ws common, sed gesison we nn Furewangers Esbrme dich. rubs exc te cn of etions titer endo the wns rool), Menger fsb tore eqn Ixia every bare po ce dso uke) Reet of tmpo ot moder prornanty, they 2 sar Rhine wich iy otc in der se as pyc ‘ovate sa expensive device bythe Romo. Inthe ew a ope inte 193 von low’ ron wee “Pe ‘cows fle fo Blow dda 1484) Hi thf pein a (bese r crate omen of son sto Gan oo wish ety Tica campeon ln ‘oro laine and muh othe eaggrton an vee tnt spear nso many performace f Clan spores ce tee ict von lon “Tena iy a prc Tom ‘heh ne "Nowadays the principe of slowing down andl speeding up within a ‘movement no poplar oat sequent rice by ska tnd mosiceacers (Youre ashing" "youre dap” is lly seg a of ack of onl ie aif ick mack ued or tmoletake apes] wa Keping everthing aa form invariable pce ‘An yt, as Rober Philp has demons by studying early esd, the unchangeable tape has emerged onl sine Worl War I There = thusa good cance ha i would supe an egheenth-centry sian to her sigh predictable repuaiy. The difrene already clea gong Tack heey ewer entry st Robert Philip cbuervess ‘Nos nt ore hs bt fens sh ney fy Sewny penny ‘Besa sani pe thc nk ena of compo ye re ism ede espe Mle hk “hn a ad ie one he ml ot KerGooretin remanence Sing ok toy ere’ an example Fiz Kesler playing (1911) iso hythmialy sul ‘hari isguestonble whether could bereeoduc by moder ois. © svovo saint 35. Frits Keil, 191, Kir: Lead Maia Spe a Jos Bll recorded the same piece gute beasifly and made a ex «allen atempr at Remntic sti, nclading oth portamem sod cabot Buthe couldn’ fr woulda) catch he ythmie ance Belcan ee Isambiees hs context. Never do we wonder whats nxatedon sf ‘tiregular ad opal, wheres Kress yt tocanoned oe Imi ad consistency by ou extern wha he plays and whats weg resemble cach other only approxima Bleacher, Joe ial tose in 1909, wae sil playing ie atm i ae seventeen {head Roe Jerse. Caeves onthe arose we aeccaturs of tne © svoiosaseut 36 fshus Bl, 196. Keiser Liebesod Strat Sipe and Modernism The Achilles” hel of Period performance i Modernism, whose x00 is fear of Romantic. Lt me pu tha mote lest if ea. Many Pit eformecs ae so anxious to avoid Remantc sett they dew {heir she and cease to be vse at all Thi enor difeul todo, beats "he same mechanisms normal ntong Movers performer ‘The write: who succeded in drawing general tention tothe pes ‘nce, or even dominance ofthe old hand of Moderna in Petia por formance wis Richard Tavskin, who alo broached the term “Sts le" print. lesan appropriate word, but I think its mre accurately speed Seat" inset jckee Fron reading mot of Tees a tices you would noc guess that HIP comisted of snyhing ether tha po foxmancs by players and singers of Steiger syle: Bt bythe Gn hinges sated appearing, many hisrcl perforin eo ed sea spent decade or more tying to distance themseers en Mod tis plying, For some reason, Tarskin never bruh tht subet py Perhaps he didi Know about i Hedi wt with adiation at ‘number of historical peformees he woul have found fic to all “Straight” like for instance Harnoncourt Bat Taetskin never easy Koowlededthisesenal element ofthe most interesting ofthc rnaions ptforminginPesiod sy ther anti Mss, His commerce were built ad served a goo cause, bt HIP sand was more compat than his pate suggested ‘What Tarski saw in Seaighnes was extrzodinay transparency nd prison. He mised a wilingnesto make regulars the pee 1676 Thomas Mace in bis Musics Monument bemoans the musicians ‘who “Drudge, and take mach Pains to Play thle Lessons very Perfectly ethyl hati ast] which when they can do, you wil perceive ue ife or piatinThem, mercy for want af the keg of hi st “Thing, ow mention, vi They do noe labour to Bo tthe Humour, Ute, oe Spirit oftheir Lesions." Join Mason in 1748 described the

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