By Nikolaus Harnoncourt
Love him or hate him, name him a pioneering genius or dusty and mannered, Nikolaus Harnoncourt merits loads of credits. not just did he lead the period-instrument move into its first significant successes (both inventive and advertisement) yet his rules approximately easy methods to play Baroque- and Classical-era track (and why to play it that manner) have had huge, immense impression even on traditional symphony orchestras and their conductors. This quantity is a set of essays and lectures Harnoncourt has given through the years laying out these very principles. The name, Baroque track at the present time, is whatever of a misnomer at this element: the most recent essay within the e-book dates from 1980, and the second one essay, "The Interpretation of old Music," is successfully the founding venture assertion (from 1954) of Harnoncourt's period-instrument orchestra, the Concentus Musicus of Vienna. whereas the occasional remark turns out dated or arguable, and likely issues are repeated from bankruptcy to bankruptcy (the chapters have been initially separate lectures), such a lot of what Harnoncourt has to assert continues to be either instructive and persuasive.
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Additional info for Baroque Music Today: Music As Speech: Ways to a New Understanding of Music
Now what are they like? My audience is very, very hip, and some of the young hippies are starting to dig me, I don’t know why. Maybe be cause some singer called my name on a record—do you know that guy, Sue? Right, Donovan. I think it did me a lot of good. I was in San Francisco when it first came out and I used to walk by this college, and kids would say, “There goes Mingus,” you know, and before the [Donovan] record came out nobody’d say anything. American audiences are not like Europe. But I tell you what is better than Europe is Georgia, Tennessee, the South—they are just now waking up to jazz.
Goodman: And they’ve got their avant-garde too. Shit, rock-and-roll’s been going for twenty years, as bad as it is, you know. So they got an avant-garde too, John McLaughlin and people like that. mingus: That’s good to know. John McLaughlin’s out of work? goodman: Far from it. mingus: But [our] avant-garde is out of work, man. That’s me, I’m out of work. 38 / Avant-Garde and Tradition goodman: You always said that they cut you out of work because they’re fooling people, they’re taking your market.
He was a very serious person and seriously in love with his music, a very religious man. He actually invented a new music in his so-called attempts to display African religious music. Which I haven’t heard yet, I haven’t heard him playing African. goodman: What burned me most was an article in Jazz & Pop, about five or six years ago, with some hip white asshole [Frank Kofsky] coming on about how Coltrane is the African messiah—and that’s what made me write my piece. mingus: Did he mean African or did he mean American black?
Baroque Music Today: Music As Speech: Ways to a New Understanding of Music by Nikolaus Harnoncourt