![]() ![]() More recently, fortepianist Robert Levin has attempted to liberate Mozart from the plaster cast of ‘elegant prettiness’ in which he believes this composer has been mummified since the Romantic era.Īnd now something similar may also be happening to Schubert. Glenn Gould sent powder flying from the wigs of the Baroque establishment with his startling new vision of how Bach should be performed. In the musical world such stylistic guidelines have massive inertia, acquired through the respect that a long performing tradition grants, and so shifting them is not a task for dull minds. ![]() These works arrive on our music stands embedded with notions of ‘stylistic correctness’ that guide our first attempts at interpretation, serving the same function as the lines in a colouring book beyond which aspiring daycare Dürers and kindergarten Caravaggios, crayons in hand, are admonished not to stray. It is a fact of musical life that there are commonly accepted ‘right’ ways (and even more ‘wrong’ ways) of performing the great works of past. ![]()
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