A Cunning Blog

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Yesterday and today

5 Comments

160919-lezhneva-690x387I went to hear the ACO and Julia Lezhneva last night. It was quite something. The performers left the stage after the fourth encore. Fair enough. They probably wanted to get home, or have a drink. The audience would happily have stayed to listen all night. I could gush about phrasing and timbre and poise and fiddly-fast notes but my post concert tweet says pretty much all I want to say. screen-shot-2016-10-13-at-4-08-56-pm

I was however interested in a note in the program.

For these performances, the Orchestra will play on gut strings. We like the rawness, roughness and soft hue of the sound these strings produce. And the wind players will perform on copies of instruments from the time.

The pitch is compromised at 415 vibrations per second, which may have been used by some performers in the 18th century. We have little to no idea what the composers intended their music to sound like, so hereby offer you one notion of how it could sound today.

Roughly translated, “Don’t you dare pull the historically-informed-performance card on us. If you do, we won’t hesitate to ask to see your time machine”.

It’s an interesting point. Australian Chamber Orchestra has never staked its reputation on authenticity, whatever that might be, and Richard Tognetti has never claimed to be making scholarly editions when he arranges late Beethoven quartets for string ensemble.  Or Janacek, or Grieg, or Alice in Chains for that matter.

This is in sharp contrast to many other ensembles touting for business these days, where historically informed performance is a key part of the brand. Paris in the 1780s. Vienna in the 1830s. London in the 1690s. You name it, the niches are endless.

None of which I, personally, have a problem with, until it becomes a battleground. When musicians start waving baroque bows threateningly, and start muttering about someone else’s misplaced vibrato or pitch, it starts to get silly. The whole point of the HIPster movement is, surely, to seek meaning, and meaning comes in many flavours, whether it’s how a musician might have played a particular phrase in 1816, as compared to 2016, or what they might have been thinking about at the time. Frankly, if it finds some meaning which I can use in the here and now, I’m pretty happy. As the program writer of the ACO says, the main thing is ‘how it could sound today.’ Because until we get that tardis working, today’s all we got.

(And seriously, do go and hear this one if you can. There’s another performance in Melbourne on Saturday 15 October and the last night in Sydney next Tuesday. Details here.)

 

 

 

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Author: harryfiddler

Harriet Cunningham – aka @harryfiddler — is a freelance writer based in Sydney. Harriet wrote her first novel, about a runaway cat, at the age of 7. In the forty year gap between novel 1 and novel 2 she moved from London to Edinburgh to Sydney, ran an opera company, played violin on the opera house stage and sailed from Gove to Darwin. She is now a music critic and writer, best known as the critic who got banned by Opera Australia. She still hangs out at the Sydney Opera House, is still trying to get that novel published, and still plays the violin.

5 thoughts on “Yesterday and today

  1. Julia L is not my kind of singer. Not sure why – she left me unmoved. But I thought the ACO’s performance of Bach’s Orchestral Suite No 1 was great. Tho I have listened to many recordings and several performances of the suites, just about all seemed dull, turgid even. I had just about decided that they are the only chuck of JSB’s work that I found less than wonderful. The ACO’s light, pacey version redeemed the suites for me. Worth the price and the journey on its own.

  2. Yes. It would be a very dull place if there was only one standard of excellence. Vive la difference!

  3. Pingback: Yesterday and Tomorrow | A Cunning Blog

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