Re: Why do you like Mozart's music?


SG wrote:
> Michael Schaffer scribbled:
>
> > > >> "Authentic" has many synonyms. In this context, "original" and
> > > >> "period" (as in "original instruments" and "period instruments") can
> > > >> be. The fact is, a great many ingenuous people believe they're
> > > >> getting "the real thing" if a record cover boasts of the period
> > > >> instruments used in a recorded performance and, even worse, that they
> > > >> aren't otherwise. The arguments Matty claims nobody ever makes on
> > > >> behalf of HIP performances are in fact accepted as fact by a great
> > > >> chunk of the market.
>
> > > > Get a copy of L. Mozart's violin book and report back when you have
> > > > read and digested it.
>
> What enormous, unfounded, ultimately inept condescension. Judging by
> his contributions here alone, Gable has forgotten more books than
> Schaffer remembers.

OK, so now we know you haven't read it either. And probably nothing or
not much else about historical performance practice. Thanks for letting
us all know.

> > > David's not arguing that research be ousted from the musical craft, if
> > > that's what you're leading to.
>
> Of course he's not. Gable's precisely arguing against the Calvinist
> stupidity which finds some kind of unmissable revelation in one single
> book or one single-minded approach to interpretation.

If that is so, then he can't have much against the HIP approach because
it's precisely about the fact that we don't know everything about the
music just from looking at it in its notated form without understanding
what that notation actually shows and what it doesn't, and that
studying whatever we know about historical performance practice,
instruments, and other factors, can lead to deeper insights and,
actually, more freedom and room for the interpreter, not less. It is
precisely about the departure from the idea that we "know" exactly how
this music must be played.

> > How people can deny the value of learning about the parameters of music
> > that go beyond the fairly sparse notation is simply beyond me.
>
> So now a competent musicologist, as undoubtedly Gable is, denies (he
> doesn't!) the value of learning about the parameters of music outside
> notation. As annoying as DG can be on occasion, these ignorant attacks
> on his competence or ideas can be one hundred times more annoying than
> his worst.

.

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