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The Emperor's New Clothes: Nineteenth-Century Instruments Revisited Author(S): Robert Winter Reviewed Work(S): Source: 19Th-Century Music, Vol

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The Emperor's New Clothes: Nineteenth-Century Instruments Revisited Author(S): Robert Winter Reviewed Work(S): Source: 19Th-Century Music, Vol The Emperor's New Clothes: Nineteenth-Century Instruments Revisited Author(s): Robert Winter Reviewed work(s): Source: 19th-Century Music, Vol. 7, No. 3, Essays for Joseph Kerman (Apr. 3, 1984), pp. 251- 265 Published by: University of California Press Stable URL: http://www.jstor.org/stable/746380 . Accessed: 02/12/2012 22:24 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to 19th- Century Music. http://www.jstor.org This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions The Emperor's New Clothes: Nineteenth-CenturyInstruments Revisited ROBERTWINTER Almost seven years ago in the pages of this jour- using upon individual releases ratherthan over- nal we explored some of the questions raised by all objectives. the infrequent recordings of nineteenth-cen- It is all too easy to exaggeratethe influence to tury music on period instruments.1 The time date of the historical performance movement, elapsed since may have been relatively brief, but let us review for a moment the gains of the but it has witnessed a dramatic growth in last several years. In 1977 there were some awareness of performance issues in music after thirty discs of nineteenth-century music on pe- 1800-and a flood of new releases. Not only is riod instruments available in this country; over it none too soon to reconsider both the issues the last seven years this number has swelled to and their merits, but this may well be the last almost 125, an impressive surge by any stand- time it will be practical to discuss either with ard. The prestigious PolyGram family of labels any degree of comprehensiveness; if present now devotes its entire L'Oiseau-Lyreseries to trends continue, by the end of the 1980s there historical performances,presenting many Clas- will be a surfeit of so-called authentic perform- sical and Romantic works. Not to be out- ances circulating, with debate necessarily foc- flanked, Harmonica Mundi has countered with Pro-Arte. Smaller labels like Astree, Claves, Ti- and Toccata are to corner 19th-Century Music VII/3 (3 April 1984). ? by the Regents tanic, scrambling of the University of California. their share of the growing market. Who would have predicted, five years ago, 'Robert Winter, "Performing Nineteenth-Century Music that would on Nineteenth-Century Instruments," this journal 1 (1977), Christopher Hogwood be conduct- 163-75. ing at the Hollywood Bowl-not just once but in 251 This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 19TH successive seasons? And notion on. The in The New CENTURY although my lingers generous coverage MUSIC that "it would be splendid if a major recording Grove (to be improved upon even further in the firm would pick [Malcolm Bilson] up" was soon forthcoming New Grove Dictionary of Musical answered by a contract and several fine disks Instruments) has filled in many longstanding from Nonesuch, even my most optimistic pro- gaps in general knowledge. Under new editorial jections were outstripped by Deutsche Gram- leadership, one of the most articulate and mophon's engaging of Bilson to recordon forte- widely-read organs concerned regularly with piano over the next several seasons the performance practice, Early Music, has broad- complete Mozart concerti with John Eliot Gar- ened its scope to include at least occasional Ro- diner. These last years have also witnessed a mantic'forays. Finally, the issuing of the first steady growth in the performerbase: today we "complete" set of a body of well-established can hear on fortepiano not only Badura-Skoda repertoire-in this case the thirty-two piano so- and Bilson and Demus, but Binns, Burnett, natas of Beethovenperformed by Malcolm Binns Dahler, Hogwood, Hoogland, Junghanns, and on instruments from the collection of C. F. Lubin as well. It is too early to tell which, if any, Colt-must be viewed as a milestone that one of these artists will emerge as major main- hopes can be repeated in the years ahead. stream interpreters; much may depend, as we These successes are genuine, and many of shall see shortly, upon the instruments them- them will doubtless prove lasting. Indeed, it is selves. their very magnitude that obliges both the lead- And there is more. Not only have sympa- ers and participants in the Romantic perform- thetic critics like Andrew Porter and Nicholas ance movement to reassess their motivations Kenyon written thoughtful and provocative re- and goals. Although recordings do not tell the views for the New Yorkerof increasingly plenti- whole story, they are representativeof what has ful performances-both recorded and live-on been going on for the last several years. Collec- original instruments, but voices of the Estab- tively, they point up three factors that, in spite lishment, like Donal Henahan of the New York of the recent growth, do not seem to have Times and Michael Walsh of Time, have also changed substantially since the early 1960s. filed approving accounts of recent develop- First, the interest in nineteenth-century per- ments.2 A share of historical recordings regu- formance practice continues to center primarily larly receives high marks in the pages of High around the piano. In our original checklist of Fidelity, Stereo Review, Gramophone, and about thirty discs, all but three involved music other trade magazines. It is true that most of the for or with piano. Among the recent crop of music under discussion has been largelyby Bach some ninety-five discs, a dozen do not employ and Haydn and Mozart rather than Beethoven the piano, a proportion only slightly changed and Schubert or beyond; more important to our from seven years previously. In one sense this is purposes is that it has now become acceptable hardly surprising;the piano is, after all, the ful- to re-examine not just obscure corners of the crum of Romanticism: its solo ideal. On the repertoire,but the war horses themselves. other hand, a view of the nineteenth-century In musicological circles, performance prac- that excludes opera and orchestral music can tice is at least officially sanctioned at meetings, scarcely be considered complete or even repre- specialized conferences, and in scholarly jour- sentative. nals-even if a patronizing whiff sometimes Second, the nineteenth-century historical performance movement has been, and contin- ues to be, European-based.Only six of the re- 2See Andrew Porter in the 26 October 1981 issue of The New cordings in the present checklist were made by Yorker (reviewing a "Steinway vs. Erard" symposium at non-Europeans-all Americans, as it turns out; Gambier College); Nicholas Kenyon in the 24 November 1980 issue of The New Yorker and in the February 1981 is- a seventh features an American soprano accom- sue of High Fidelity (reviewing Malcolm Bilson on forte- panied by a European pianist on a European la- piano); Donal Henahan in the 7 December 1978 issue of bel. The original reason for this state of affairs of the New York Times (reviewing Bilson's Advent cassette instruments themselves were Haydn keyboard sonatas); and Michael Walsh, "Letting Mo- may be that the zart Be Mozart," in the 5 September 1983 issue of Time. by and large to be found in Europe. Although the 252 This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions firm of its Mozart change. For one thing, cities like Los ROBERT Neupert pressed fortepiano Angeles WINTER: model into service for the Mozart bicentennial and New York are experiencing an unprece- 19th-Century in the mid-1950s, most European performer/ dented growth of interest in historical perform- Instruments collectors (such as Paul Badura-Skoda,J6rg De- ance, rapidly approaching a level that can at- mus, or Richard Burnett) have continued to fa- tract and hold first-class performers. For vor originals, reflecting to some extent the Old another, the building of replicas has secured a World bias-one not entirely without founda- strong foothold in America, which now boasts a tion-that they don't make them as well any- dozen world-class early keyboard instrument more. For relatively modest outlays, it was pos- makers, and may over the next decade corner sible for Europeans to assemble impressive and the market on historical pianos as well. The important keyboard collections. Assuming best copies by Philip Belt of Mozart's 5-octave such instruments could still be located, an Walter concert instrument compare favorably equally interested American, bucking the va- with the best-known originals; some would garies of export restrictions and shipping ar- even argue that they surpass them in reliability rangements, faced an uphill battle. and purity of tone, as the originals themselves There is also the circumstance that Europe must have in Mozart's day. A few intrepid has traditionally provided a more congenial at- builders are now stretching the outside of the mosphere for the cultivation of performerswith envelope by building the first prototypes of 6- iconoclastic leanings: Arnold Dolmetsch at the and 61/2-octave pianos; although the engineer- turn of the century, Landowska in the '20s and ing problems are considerably greater than '30s, Thurston Dart in the immediate postwar those of the smaller instruments, they are period, and the Leonhardts,Harnoncourts, Hog- slowly being solved.
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