![]() In terms of expressive intensity, this led to contradictory results. Historically-informed performance (HIP), from the late 1960s onwards, has been characterised by greater attention to the inflection of local details (i.e., individual figures and motifs). Arguments against the application of such techniques to Bach’s works were often linked with the view that his music is more “objective” than later repertoires or, alternatively, that expressive elements in Bach’s music are self-sufficient, and should be not be intensified in performance. Between the 1950s and the 1980s, most Bach performers shared a partial consensus as to what constitutes expression in performance (e.g., intense sound wide dynamic range rubato). It places particular emphasis on issues relating to concepts of expression through performance. Bach’s music in the second half of the 20th century, as reflected in recordings of the Mass in B Minor, BWV 232. This dissertation investigates developments in the performance of J.
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