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- Jullander, Sverker
(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. - Göteborg : Göteborg Organ Art Center, University of Gothenburg. - 9789197261203 ; , s. 77-96
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The article examines the authority of recordings that preserve a composer playing his or her own music. Although composers’ recordings may seem to present all that is needed in order to understand the best way to interpret their organ music, there are several problems in evaluating these documents, including the composer’s ability as a performer, the context and purpose of the recording, the stylistic relationship between the music and the instrument played, and the ways in which a composer’s attitudes may change over time. Still, information taken from historical recordings can be used to clarify composers’ preferences and, when studied with discretion, recordings can be useful tools in developing interpretations of specific works. They document the range of possible interpretations within the composer’s tradition, features that often are not notated because they are self-evident to contemporary musicians.
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| 2. |
- Jullander, Sverker, 1951
(författare)
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The Ultimate Authority? Possibilities and Problems in Composers’ Organ Recordings
- 2012
-
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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