Authenticity; Baroque .v. Piano Options

[Maizie]

This is a sort-of-related interesting read: http://www.enjoythemusic.com/magazine/musi...ical/debate.htm
A critic gave a scathing review of Red Priest's Four Seasons - sufficiently scathing for Piers Adams to repsond. The conversation that follows I think touches on authenticity and what it means if you do something 'unacceptable' with the music (bearing in mind that acceptability is of course a matter of opinion)

[Neil Quinn]

So I've chosen a Scarlatti piece for my grade 8 and I have an unsettling conflict; to pedal or not to pedal? I think it's an innate fear I have developed after studying under my secondary school music teacher at GCSE who was a baroque enthusiast. I'm not quite sure whether or not I'm clutching at straws, but the possibility of pedaling hadn't occurred to me until researching some recordings of the piece - all of which use pedals.

Do I pedal, or don't I? And will it hurt me in the exam room either way?

Now I've read the thread it's an interesting point.
I'm doing the Scarlatti F# minor which is allegro (or hopefully it will be). This rather negates the need for a pedal since speed together with the figured chords tend to fill out the harmony nicely. I haven't actually tried it with the pedal, but it is an interesting point that if Scarlatti (Bach et al) had a sustaining pedal they would have used it, however, one can also argue that they would also have written the music somewhat differently.

Another concern (if the pedal wasn't enough) is dynamics. I always find it slightly odd to hearing pounding fff parts in Baroque music when played on a modern piano. However, it raises the question again, would Scarlatti have played it that way if he had access to louder instrument?

My Scarlatti will be followed by Mozart Allegro in D (also with no pedal) and then concluding with Chopin Nocturne in B, which has enough pedal to make up for the absence of pedal in the other 2 pieces! (IMG:style_emoticons/default/biggrin.gif)

I suppose for the exam, just play it the way you've learnt it and take your chances!

[anacrusis]

This is a sort-of-related interesting read: http://www.enjoythemusic.com/magazine/musi...ical/debate.htm
A critic gave a scathing review of Red Priest's Four Seasons - sufficiently scathing for Piers Adams to repsond. The conversation that follows I think touches on authenticity and what it means if you do something 'unacceptable' with the music (bearing in mind that acceptability is of course a matter of opinion)

Oof, it's long - and interesting to see that perhaps we have there an example of the extreme proponent of HIP, who fails utterly to understand that Piers Adams and Red Priest aren't about HIP - they may use recorder and harpsichord, but play at a'=440Hz: Piers has some very modern recorders in his collection and Red Priest aims for a fresh approach whilst keeping sound balance and timbres well-matched: his critic really does manage to miss the point (thank goodness he finally acknowledges he did (IMG:style_emoticons/default/biggrin.gif)). I've said before - despite his amazing virtuosity, I'd not want to play the way Piers does, but only because I haven't the charisma and kerpow to carry that sort of performance off convincingly: he can.
So it would also be with Scarlatti, I think - again, music with incredible poignancy often, even the fast pieces, and pent-up emotion in it: it's open to a wide range of valid interpretation...and hence he's one of my favourite composers for keyboard (IMG:style_emoticons/default/smile.gif).

[dorfmouse]

[quote name='AntonPiano' date='Apr 13 2012, 02:09 AM' post='1142050']
[quote name='dorfmouse' post='1141473' date='Apr 10 2012, 10:03 AM']
Which piece are you playing?
[/quote]

The Sonata in B minor, Kp. 29 (L.449) - on the current grade 8 syllabus (IMG:style_emoticons/default/smile.gif)

Thanks, but it's K27 (was puzzled 'cos I know and love this one and just checked with the syllabus). Enjoy!