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Performance practice (Jan. 2005)
Chapter I
By Henrik Bøggild (edited and translated by Palle Thilo and Claus Adam Jarløv)

When we perform what is generally know as “historical” or “early” music, the questions inevitably rises: “How did the old masters actually play their music?”. The printed music only gives us somewhat scanty advice on this. And sound is a rather ephemeral phenomenon: once a tone ceases to vibrate, it is lost forever.

Edison’s phonograph from 1877 made it possible to record and replay sound. It is no exaggeration to claim that this invention gradually became a decisive factor for the development and streamlining of an international playing style. Studio recordings generated constantly improved sound reproduction; easier and more sophisticated editing facilities accustomed audiences to continuously greater technical perfection; in the course of time, audiences were experiencing music through gramophone records rather than live performances. A tendency that almost inevitably evolved towards greater volume, precision, clarity, control and adherence to the printed music, away from the unpredictable, accidental, poignant and personal.

The earliest sound recordings make it possible for us to listen to musicians who were born far back in the early 19th century. These musicians must have been in touch with a far older tradition. If we surmise that the gramophone industry has had a precipitating effect on the development, we can infer that this was slower in former times. But if we listen to Mozart’s d-minor quartet with the Klinger Quartet in a recording from 1912, can we assume that we are closer to the composer’s intentions than would be the case in a more recent recording? Or when we hear singers who are the bel canto tradition themselves, with embellishments of fermatas, improvised cadenzas and the use of vocal colours? Listen, for examples, to Handel’s largo with the celebrated singer Emma Albani, born in 1847. The recording, made in 1904, was regarded as as close to perfection as could possibly be achieved at the time. But would Handel have agreed? Today, we have access to an enormous source of material laid down in gramophone records which for some reason has yet to enjoy the interest of musicologists. A reason could be that we have become accustomed to focusing solely in the printed material.

What can we learn form these old sound recordings? A number of stylistic features can be gleaned form them:

Very limited use of vibrato.

Singers’ and string players’ frequent use of slow, prominent portamenti, ie. sliding between two tones. As an aside, it can be mentioned that as far back as the early 19th century instructions exists in how flautists and clarinet players can imitate the expressive portamenti of the singers and string players.

Large-scale changes in tempo, underscoring the changing moods of the music.

Prominent and detailed rubato, not only a tempo modulations, but also as lengthening and shortening of individual notes, as well as treble voices that can be ahead og or behind the accompaniment. In a letter, Mozart taunts his rival Clementi with being a playing machine that cannot keep the tempo in his left hand while the right hand is not ahead, then falls behind).

In addition, there is a tendency to hasten on short notes and slow down on the long ones, leading among other things to over-dotting.

A strong sense of pulse, emphasising more drive and swing rather than mathematical precision.

In a word, an attitude aiming at conveying the content of the music, what it meant, what it depicted, its emotions. Features such as melody and accompaniment, each living their own lives on the basis of a shared pulse may be as old as music itself. The phenomenon was described in 18th writings, exists in folk music and is the very essence of jazz. The strong focus on precision in the sense of rendering exactly what the score says belongs to our time.


 
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