Historical knowledge, however deep and comprehensive it might be, is not the sole source of an interpretation it’s only a way of honing the right tools in order to make music sound relevant and modern to our world. This in turn enables us to make our own personal decisions about the music, today, for the world of today. The only purpose of the HIP movement can be to get rid of the many layers of varnish tradition has piled upon the music in order to access sources directly without the numerous filters added by generations of performers and editors (no matter how fabulous many of them were). Just listen to early 20 th-century recordings of romantic music (widely available on different platforms) to understand how parameters of music performance can change over only a hundred years… Then multiply this gap by three or four. Without actual recordings we will never know what music making really sounded like back in the 18 th-century. The purpose of this movement however cannot be to recreate music the way it sounded back then – in other words, to recreate an “original version” that stands out as the ultimate beacon of truth. It is a fascinating process that has completely changed our way of understanding the music of the past. The journey of the HIP movement implies going back to original ways of performing music by devoting our attention to original manuscripts, editions and musical instruments of a specific era, and learning everything about what music meant to the people who composed it, performed it and lived with it. Some people will say that a specific interpretation is “authentic” as opposed to another one – like “authentic” on the baroque violin but “not authentic” on its modern counterpart… If only things were that simple. To some extent, that concept has contaminated the universe of musical performance practice (commonly known as “Historically Informed Performance”, or HIP movement the German tongue-twister Aufführungspraxis can also impress). They were light years away from two of our very modern concepts: first, the notion of copyright and ownership second, the idea that music exists in a pure and definitive (almost sacred) form which should not be altered.ġ9 th– and early 20 th-century musicology developed a concept of reverence for the idea of the “original version” ( Urfassung) of any piece of music, with the implication that there is for each piece an original and/or definitive version that should be considered authentic and untouchable. There was no inhibition in using someone else’s music for one’s own purposes.
Our topic is the power of transformation in Bach’s music, and more specifically, his capacity to transform, modify and re-utilize his own music or the music of other composers and turn it into something new and different that takes a life of its own.Īrranging music was a daily business for 18 th-century composers: music was for them a living matter waiting to be molded and transformed depending on daily needs.
21.With this triple musical dose of Bach, there can’t be too much of a good thing. 1 and at the Bach Archiv in Leipzig from Sept. The manuscripts will be exhibited at the library from Sept. Schubart succeeded Bach as organist at the court of Weimar in 1717, and the newly discovered documents were passed to the library as part of Schubart's estate, the foundation said.īoth the manuscripts and the aria found last year were unearthed by researchers from the Bach Archiv foundation in Leipzig, who have been combing German archives for information about the composer since 2002. It said the find also made clear that Bach went to Lueneburg in order to learn more about the influential North German organ school in Hamburg and Luebeck. "Technically highly demanding, these organ works document the extraordinary virtuoso skills of the young Bach as well as his efforts to master the most ambitious and complex pieces of the entire organ repertoire," the foundation said. The manuscripts were found together with two previously unknown fantasias by Johann Pachelbel, copied by Bach's student Johann Martin Schubart.
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