Johan van Veen [log in to unmask] wrote:

>It seems to me that the aversion against dogmas and against the idea that
>something *must* is very modern and typical for the last decade of our
>century.  In earlier times people were not so afraid of prescriptions.
>Treatises of the 17th and 18th century are full of prescriptions.  Let's
>not forget that music was considered to be a science in those days.
>I can't see what is wrong with dogmas in itself.  At least for me an
>"argument" like "it sounds fine to me" is never convincing.  In my view
>historical evidence should always come first.

I agree that prescribed methods of performance are of great value when
followed with regards to music in or around the time of the prescription
(AHEM!).  If someone wants to know how a piece is/was intended to be
performed, they can easily find out by looking into treatises of the
ancient masters.  Trouble is, we're starting to get a little off of the
topic here.  The question I asked was why some people are suspicious or
skeptical of HIP performers and performances.  Mr. McComb replied with
his belief that some people tend to believe music MUST be performed in a
certain manner.  I think an "argument" like "it sounds fine to me" is
wonderful.  It doesn't need to be convincing.  After all, it is just an
opinion.  If we were to follow the prescribed performance practices of the
17th century, as prescribed by musicians IN the 17th century, with the
intentions of listening to a work EXACTLY as it was heard back then, we
would *NEVER EVER* use a Steinway with Bach or Couperin.  We would also
never use a cello and piano for the Bach sonatas for Viola da Gamba and
Harpsichord.  I, personally, would be fine with that but many people
wouldn't.  Now then, this is as it would be if ALL musicians were to follow
the REAL prescribed methods.  I do feel it is ridiculous when people try
to tell everyone what a composer's real intentions were when they are
just guessing themselves.  I agree that historical evidence should take
precedence before any and everything else.  Unfortunately, there are groups
of people with absolutely *NO* historical evidence on their side, trying
to tell me and everyone else that they know what would be the composer's
intentions today.  I think this is a bunch of nonsense.  More power to the
person who wants to play Matthew Locke on the Sousaphone.  Just don't try
to tell me that's the way he would have wanted it.  When I hear stuff like
that, I tend to distance myself from those performers.  I imagine others
react the same way to this sort of arrogance!

Wes Crone