Ru
EnV. Leonov, I. Palkina
Authenticity in the musical performing art (realities of the past and present)
The problem of authentic (genuine, faithful) musical performance has occupied the minds of professional performers and amateur enthusiasts for approximately 150 years, driven by a steadily growing interest in the artistic heritage of past centuries. This problem is typically associated with works of the Baroque era (the 17th – first half of the 18th century), which represents a crucial stage in the development of European musical art, including the formation of the foundations of modern performing arts.
This article explores the use of the term “authenticism” and its significance in philosophical studies of human existence. The names of the founders of the authentic performance movement – the prominent figures in musical scholarship and art, A. Dolmetsch and A. Schweitzer – are cited. The article identifies the favorable conditions that facilitated the creation of consorts and baroque orchestras in many countries during the second half of the 20th century. It also explores the reasons why the term “authenticity” gave way to “historically informed (competent) performance”. The role of diminutions in Renaissance and Baroque music is explored, as well as their enrichment with numerous expressive means, their transcendence, and the establishment of a new concept: “melody coloration”. Examples of diminutions from B. Bismantova’s treatise “Musical Compendium” (1670s) are cited, and recommendations related to melodic embellishment are highlighted in the works of J. J. Quantz (1752) and E. Ozi (late 18th – early 19th centuries). Based on a study of the aforementioned treatises, which capture the realities of instrumental performance during this period, a conclusion has been drawn regarding the problematic nature of authentic or “historically informed (competent)” performances of solo wind instrument repertoire created during the Baroque era. However, the use of appropriate instruments, knowledge of the rules for the sound embodiment of pitches, adherence to loudness dynamics, and other factors allow the listener to perceive the authenticity of modern performances of this music.
Key words
authentic musical performing art, historically informed (competent) performing the early music, diminutions, ornamentation, treatises for playing wind instruments.
For citation
Leonov V., Palkina I. Authenticity in the musical performing art (realities of the past and present). In: South-Russian Musical Anthology. 2025. No. 3. Рр. 58–65.
