By Fryderyk (fryderyk) | jshkueh@cyberway.com.sg | Vienna/5059

The Dolmetsch family was the first to research ancient performing tradition and old instruments, and Wanda Landowska's courageous championing of the harpsichord created interest in the instrument. However, the Dolmetsch's following was small and Landowska's championing was severely undermined by influential musicians who described the harpsichord's sound as “a birdcage being struck by a toasting-fork” and, in Sir Thomas Beecham's memorable phrase, “two skeletons copulating on a tin roof.”

Three conductors came to the rescue, together with the invention of the gramophone. Mikolaus Harnoncourt began as an eager researcher, founding the Vienna Concentus Musicus to perform mainly baroque and early classical pieces on period instruments. Sir Charles Mankerras has taken research seriously, with positive effects upon his reading and interpretation of the score. When Claudio Abbado, a conductor not known for his sympathy towards authenticity, recorded Schubert's symphonies with the Chamber Orchestra of Europe, he included some of the composer's early sketches in the Great C Major, making at least two surprising changes.

The correct use of instruments is extremely important. The use of the piano in Bach's Brandenburg Concerto No. 5 and the use of the standard trumpet and Brandenburg Concerto No. 2 completely destroys the intended effect of the musical pieces, which were scored for harpsichord and high trumpet, respectively. Haydn's scores were full of mistakes, over 1,000 in his last 12 symphonies alone. Use of the cornet and ophicleide in Berlioz's Symphonie Fantastique restores the bizarre effects he requires.

Let's have a look at Mozart's Symphony No. 38 in D, Prague, played on an authentic orchestra (the orchestra of Mozart's day), and on a traditional orchestra (the symphony orchestra of today):

Authentic Layout

4 first violins on the left
4 second violins on the right
2 violas
2 cellos
2 double basses
2 flutes
2 oboes
2 bassoons
2 horns
2 trumpets on a raised platform
a pair of timpani on a raised platform
1 harpsichord played by the director

The two small violin groups would play without vibrato, achieving Mozart's antiphonal effects with great clarity. The proportionally larger woodwind would strike through the textures, and the brass would play out with full force, obeying Mozart's dynamic markings. The director would hold the performance together with audible harpsichord signals. The andante would move at conformable walking pace. All repeats would be played.

Traditional

20 first violins on the left
20 second violins and the left
10 violas in the center
10 cellos on the right
4 double basses on the right.
2 flutes
2 oboes
2 bassoons
2 horns
2 trumpets
1 pair of timpani

Woodwinds would be submerged. Brass would be encouraged to blend. The conductor would mold the music. The andante would be slow, and most repeats omitted. The strings would play with vibrato.

When I look for a piece of music, especially from the early classical and baroque period, I always try to look for an authentic recording. But in the end, it depends entirely on taste

Features