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In Reply to: RE: HIP: It's a bad scene! (aka: I've just been reading Hogwood's biography of Handel) posted by Chris from Lafayette on January 11, 2017 at 18:33:01
Chris, Thank you for taking time to articulate your point and educating me. Much appreciated.
I rarely put any stock into a journalist or reviewers point of view. They can't hold water like a conductor or virtuoso.
I still go back to the original thought in my mind: "do we really KNOW what Bach or Beethoven intended?" The answer is "probably not".
We do know what Shostakovich intended for his quartets, as evidenced by the Beethoven String Quartet upon whom he relied to debut his quartets. In this case, one could easily defer to the Beethoven Quartet performances as reference. From the Shosty quartet web site: "Shostakovich himself enjoyed the companionship of the Beethoven Quartet, the foremost ensemble in the Soviet Union, for whom he wrote all but his first quartet. In telling the story of his life, his quartets tell also of his relationship with these players, with their instruments, and with their repertory of the great classics."
In contrast, we have no such authority from Bach or anybody else prior to the 1900s.
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. . . interpretive differences in their own music were concerned. I've posted some stories about composers such as Martinu and Dvorak which indicate that they didn't have a single, fixed idea as to how their own music should go. To recap one of them: Dvorak actually conceived a tempo for the slow movement of the New World Symphony which was noticeably faster than the one taken by the first conductor in the rehearsals for the premiere of the work. When Dvorak's son-in-law, Josef Suk (the composer, not the violinist!) asked him if he was going to correct the conductor, Dvorak said no, because, on reflection, he thought that the conductor's slower tempo worked well too.
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