Challenges to Historically Informed Performance
As with books or movies involving time travel, there are certain issues that arise whenever one tries to perform in a historically informed manner. At first many obstacles may seem either trivial, or insurmountable. Over time, one’s perspective may change dealing with one issue or another. Much depends on the practicality of a situation and how well you can convince others to join your quest.
One of the challenges to performing in a historically informed manner is tuning. The modern standard for Classical period ensembles is A = 430 Hz (Hertz is a measurement of vibrations per second) and A = 415 Hz for Baroque period ensembles. This loosely translates to standards in these respective periods. However, based on tuning forks found in various chapels and courts of these periods, tuning standards were the prevue of the local Kapellmeister and varied considerably.
Modern standardization of historical tuning standards is largely due to woodwind instruments having limited tuning variability. Once a woodwind instrument is made, there is little one can do to make changes. Pushing in a reed does little to effect pitch and upsets the acoustics of the instrument. In the Baroque and Classical periods, local instrument makers made instruments according to the demands of the local court or church. As the world has “become a smaller place”, musicians travel more easily and have a greater need for standardization. Compared with modern tuning of A = 440 Hz, a Baroque period “A” is equivalent to a modern G# (416 Hz). As one starts performing in a historical informed manner, it is important to have the possibility to perform at the modern period standards and A = 440 Hz. As a practical accommodation, one could perform recitals with a modern piano or other modern instruments tuned to A = 440 Hz. As one can convince others to join in the movement, being able to tune to the modern period standards is important.
On a Classical horn, or Inventionshorn, the tuning slide may be long enough to tune to either A = 440 Hz, or 430 Hz. On a Baroque horn, it is possible to play at A = 415 Hz, as built; or to tune to A = 440 Hz by transposing a half-step. This may require a half-step crook to get from the G crook with mouthpiece receiver (modern G flat) to the key of F at A = 440 Hz.
As well as tuning standards, temperaments also varied throughout these periods. J. S. Bach’s Well Tempered Clavier does not refer to the equal temperament of modern times in which there are 100 cents of tuning discrimination between half-steps. There were no devices to measure frequency until much later. The central idea behind “Well Tempered” was that one could play equally well in all keys. Various mean-tone tunings were most frequently found.
Keys of Affection were closely related to the ethos of these eras. Various keys were associated with various feelings, or sentiments. The character of the key of C was considered as innocence or simplicity. The key of F signified calmness; E flat was the most holy (3 flats signifying the Trinity), and the key of love. The key of D major was the most joyous and B minor (relative minor to D major) was considered the most tragic. These examples are simplistic, but represent the basic idea. These keys of affection were the result of the temperaments, as keys did vary slightly in their “equality”.
If one can find a keyboard technician who enjoys a challenge, ask them to tune a piano according to one of the period tunings. Most keyboard technicians were trained in these techniques as students. However, they rarely get a chance to demonstrate their art. Particularly for horn players playing in period styles, performing with a piano tuned to a period style will make a significant difference. This is due to the unequal distribution of overtones of the horn according to their modern equivalents in equal temperament.
Another aspect of historically informed performance that modern musicians need to accommodate is in the area of dynamics. The “forte” of today is louder than the “forte” of the Classical and Baroque eras. The “piano” of today is also louder than the “piano” of earlier times. Wind instruments of these eras had smaller bore sizes and would react very differently if over blown. The bell taper on a Classical or Baroque horn is smaller than modern horns. Although, many “medium” bore modern horns are close enough in size that one can play them using hand horn techniques. A very brassy sound is created at loud dynamics, which can be useful in fanfare type passages. The indication “energico” can be seen as an instruction to create this brassy timbre. This indication doesn’t happen very often.
Performance spaces of earlier times were smaller than modern concert halls. Orchestras were much smaller in number. Strings used less tension bows (Tourte) and gut strings, which are not as loud as steel strings. Attending a music performance was, frequently, a more intimate event than attending a modern concert hall. There was little need to create extremes.
Dynamics must be considered in relation to the aesthetic of a given situation. In ensemble situations, the horn is often a blending instrument. Staying dynamically below solo instruments, filling chords and adding rhythm are primary roles; much like timpani. No matter what dynamic is printed on the page, do not cover the melody. When the horn is a featured instrument, keep a singing style in mind, unless the situation calls for something more heroic.
If one starts performing louder than necessary, others will perform louder as well and create a “competitive” environment in which everyone loses. Embrace opportunities to support as well as lead. Experiment with dynamics of a given passage in context of a given situation. Determine if one’s role is primary (as a solo melody) or secondary (filling chords and accompanying). Remember that horns were the first brass instruments added to the orchestra because of the ability to blend as well as present hunting and heroic calls.
One of the great challenges for modern performers is the inconsistency of published editions. If one encounters an edition marked: Urtext, it is based on the original published edition and is considered the closest version to the composer’s manuscript. Most other editions are “performer’s editions”. Performer’s editions are based on the markings of a noted performer and the actual dynamics, articulations and cadenzas that they used. These vary considerably. Better ones are based on research of common practices of the respective era. There are many with great performer’s cadenzas. These impressive expressions of virtuosity may go beyond the length, range and style of period performers. One is free to borrow some of their ideas, as well as ideas from main melodies, and create a cadenza that suits one’s own expression. Most Urtext editions from the Baroque and Classical eras have very few dynamic markings and very few articulation markings. Oral tradition trained performers in the intimate aspects of these ideas. There were traditions handed from teacher to student for particular musical figures that dictated how they were to be played, and there was no need for markings in scores or parts.
Editions of Baroque music often indicate only forte and piano dynamics. The “terraced dynamics” idea is often over interpreted as music being either loud or soft, with no variation within levels. Certainly music for harpsichord or organ is ruled by the ability of these instruments to only play at one dynamic per setting. Agogic or durational accents allowed performers to emphasize certain notes as focal points. For string instruments, voice and wind instruments, subtle shadings within dynamics are not only possible, but likely when expressing various emotions. Castrati singers of the Baroque and Classical eras were noted for their wide and varying dynamic abilities.
Classical period dynamics show a greater range and show indications for crescendo and decrescendo. Composers were more apt to indicate their wishes in a given situation. Beethoven is quite specific indicating dynamics and tempos and some articulations.
The challenge becomes what do to when nothing is indicated. Some well-meaning editors add articulations to every note. Other editors are less intrusive in presenting their ideas in relation to the composer’s. Probably the best scenario is to consider the context of the situation, and let “good taste” be your guide.