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The End of Early MusicA Period Performer's History of Music for the Twenty-First Century$
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Bruce Haynes

Print publication date: 2007

Print ISBN-13: 9780195189872

Published to Oxford Scholarship Online: January 2010

DOI: 10.1093/acprof:oso/9780195189872.001.0001

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The Transparent Performer

The Transparent Performer

Chapter:
(p.86) 5 The Transparent Performer
Source:
The End of Early Music
Author(s):

Bruce Haynes

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195189872.003.05

Whatever is done to their music, the original composers will be affected. Original repertoire is all in the public domain now. This chapter argues that far from being “faithful” to a composer's intentions, people are in fact merely stealing ideas from them, and doing it selectively. But obviously, to get the most value out of this theft, it is necessary to be conscious of the composer's wishes. This will give the music the best chance of being understandable. The wishes of the listener, in this case, coincide with those of the composers. This chapter discusses fidelity to the composer, Werktreue (work-fidelity) as the musical analogue of religious fundamentalism, the Urtext imperative and text fetishism, untouchability, the Romantic invention of the interpretive conductor, and the maestro-rehearsal.

Keywords:   composers, fidelity, untouchability, Werktreue, Urtext, conductor, maestro-rehearsal, fetishism

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