Rodney Corkin wrote:

>I'd like some opinions regarding period instrument performace of Classical
>period music, especially Beethoven.  I have long argued that for the
>nuances of the works of this time to be fully realised its no good
>listening to old Alfred Brendel and Karajan/BPO recordings.  For me modern
>methods of playing (eg copious amouts of vibrato on the strings) and the
>instruments themselves are inapropriate (eg I suggest a piano by Graf circa
>1820's if far more suitable for exploring the possiblities of Beethoven's
>piano music than a modern Steinway).

It's true that period instruments sound different than modern ones.  It is
also true that for violins especially, different styles of performance come
along in every generation.  Speaking as a string player, I can say with
assurance that when one plays on different instruments, the instruments
(types of strings, types of bows!) and their own properties sometimes
inspire and dictate the nuances that will flavor the performance.  But that
is true for modern as well as period instruments.  I have found, though,
that with an open mind and heart, I can find beauty (and often profundity)
in almost any performance if the music is good enough.  Beethoven is
certainly more than good enough to withstand all kinds of performance
practice!  BTW, I have recently purchaced cds of the old Alfred Brendel
performances, and each one delivers a carload of goosebumps, nuances,
possibilities, and what-have-you.  I would be interested to hear the
sonatas played by any performer on any piano or close relative of a piano.
I could never be satisfied with just one performance forever.  Part of the
joy of listening to the piano sonatas (or string quartets, piano and violin
sonatas, etc.  etc.) is hearing different interpretations, different
balances, different tone colors.

I also think that the ear adapts to different conditions.  There have been
times when I would play a record or cd and cringe at the tone quality of a
performance, or certain technical traits of a performer, and yet, on second
listening would not mind it half as much.  The MUSIC itself must have been
the most important thing.  How else could I account for the phenomenon of
loving classical music in spite of listening only to radio and 78 r.p.m.
records in early childhood?

Mimi Ezust <[log in to unmask]>