“My concern is the reading of the score, not the fetishism of the instruments. Ancient, modern, they are played by contemporary musicians, likely to share my concerns. ”
That sums up the Harnoncourt paradox wonderfully.
The Austrian chef passed away five years ago.
He has often been wrongly described as obsessive about sound, attached to the sole notion of authenticity.
But it was quite the opposite.
Driven above all else by the quest for musical meaning.
Cantor of imagination and freedom.
And who did not hesitate to question himself throughout his career, which began in 1952 as a cellist with the Wiener Symphoniker.
Read also:
Nikolaus Harnoncourt, the classic revolutionary
This is what Bertrand Dermoncourt wanted to recall in
Le Baiser des muses
: collection of interviews carried out between 1998 and 2012. More than the impossible summary of a musical thought too large to be condensed into a few pages, a lively dialogue .
Kidnapped.
Deliciously direct and accessible.
And sometimes explosive.
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