Word: brueggen
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Dates: during 1970-1979
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SANDERS THEATER. Sour Cream (From Brueggen, recorder; Walter van Hauwe, recorder; Kees Bocke, recorder...
...recorder virtuoso Frans Brueggen tells his Harvard music seminar, the only workable solution to these difficulties is: go Baroque. Abandon your arid twentieth-century musicology as well as your heroic nineteenth-century slush, and look upon this music with the relative simplicity of a Baroque composer-performer. Obviously easier said than done; but Monday evening both Brueggen and eminent harpsichordist Gustav Leonhardt succeeded admirably in this life-giving approach to the music of a lost tradition...
...BAROQUE PHILOSOPHY clearly opens up the possibility of considerable individuality in ensemble playing (Toscanini has, after all, not yet arrived on the scene). And, appropriately, Brueggen and Leonhardt did not submerge, but rather discreetly coordinated their individual views while performing together, in addition to presenting unaccompanied selections...
...player of a melody instrument, Brueggen's foremost interest is in the declamation of the most immediate musical units. He maintains, justifiably, that the long-line concept (climaxing in Wagnerian "endless melody") simply did not exist for the Baroque performer. Overall, his playing is clearly articulated, with careful attention to dynamic inflection, colorful ornamentation, and intimate shaping of each individual phrase. For some listeners, his approach may seem to personal--too free in rubato, too extreme in the use of swell and vibrato. But, here it is necessary to keep in mind that there is substantial historical evidence in support...