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- Jullander, Sverker, 1951
(författare)
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The Ultimate Authority? Possibilities and Problems in Composers’ Organ Recordings
- 2012
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Ingår i: THE ORGAN IN RECORDED SOUND: HISTORY, SOURCES, PERFORMANCE PRACTICE. - Göteborg : University of Gothenburg. - 9789197261203 ; , s. 77-96
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Recordings, says the musicologist Richard Taruskin, “are the hardest evidence of performance practice available.” With this in mind, can we imagine a more authoritative statement on the performance of a musical work than the composer’s own recorded version, providing us with a rich source of direct, first-hand information on his intentions and practices? We become enlightened, not only on many aspects of performance that the composer chose not to enter into his score, but also on subtle details that could never be conveyed in written form. But the presence of a recording by the composer may also give rise to questions and doubts. Whereas a recording ideally serves to supplement and clarify the information given in the score, it may also – at least seemingly – contradict it, thereby raising the question of whether the ultimate authority resides in the score or in the recorded performance. If we are eager to know about a composer’s intentions, we must reflect on the intentions behind the recording as well as on how they are mirrored in the performance. Is it reasonable to use a composer’s recording as an authoritative model for performers, laying down in detail the “correct” way of performing a piece? And if such an authorial intention is presumed, the question still remains of the composer’s success as a performer in realizing his intentions, not to mention the possible distortions caused by the constraints of the technical medium used.
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The Organ in Recorded Sound: History, Sources, Performance Practice
- 2012
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- “The Organ in Recorded Sound: An Exploration of Timbre and Tempo,” was a three-day conference held at the School of Music at Arizona State University January 11–13, 2002. A number of scholars, musicians and recording experts presented research concerning the history of organ recordings in an attempt to document this legacy of sound and to uncover avenues for further investigation. The conference also marked the availability online of an impressive database of organ recordings that is being compiled and maintained by the Göteborg Organ Art Center (GOArt) at the University of Gothenburg, Sweden. The database exists to facilitate locating organ recordings, so that these resources may befully exploited by those researching organ history and performance. The study of organ recordings is a pioneering discipline comprising various strands that bring together different groups: organists, of course, but also sound engineers, audiophiles and musicologists. The contributors to these proceedings reflect these interrelated fields in their articles, drawing upon organological and discographic information and situating this within particular historical and aesthetic contexts.
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