AROLD C. SCHONBERG served as chief music critic for The New York Times from 1960 to 1980. Schonberg’s heart belonged to the grand Romantic tradition of performance—with its expressive individuality, big sound, and interpretive freedom—so we shouldn’t be astounded to learn that he was skeptical of the so-called ‘authentic instruments’ craze. Schonberg was ruthless towards advocates of ‘historically informed’ performances, who wrote verbose articles explaining in a pedantic and serious tone (!) that period instruments were “supposed” to play out of tune. But as time went on, performers learned how to play the older instruments in tune. In other words, the problem was a lack of technique, rather than any deficiency in the instruments themselves. In that sense, Schonberg was vindicated.
Period Instruments • In a moment, I’ll explain why I bring up the ‘early music’ movement. But first, please listen to this ‘live’ recording of our children’s choir joining our volunteer parish choir to sing the INTROIT on Holy Thursday:
That musical score can be downloaded free of charge at the flourishing feasts website.
(1 of 3) Authentic Performance • There was a time in my life when I believed the only ‘correct’ way of singing Gregorian Chant was a cappella by men only. The legendary Father Valentine Young, OFM, eventually made me realize how wrong I was. He showed me that plainsong accompanied on the pipe organ can be very beautiful. But I also love a cappella plainchant sung by just men. And I also cherish a cappella plainsong sung by females only. The only version I hate is men and trebles in octaves a cappella, although that’s how Westminster Cathedral in England sang plainsong.1
(2 of 3) Authentic Performance • Someone might surmise that I’m a fan of ‘historically informed’ performances because I’ve spent the last three decades of my life studying adiastematic notation. As a matter of fact, I’m someone who’s quite skeptical of that movement. For instance, written correspondence has been discovered—from composers such as Sebastian Bach and Wolfgang Amadeus Mozart—in which they recount instances of their music being played by enormously large performing forces. The composers are ecstatic with joy! That suggests “smaller” performing forces were the result of financial limitations. Many ‘early music’ groups cover up or downplay such evidence … because large ensembles are quite a bit more expensive.
(3 of 3) Authentic Performance • Broadly speaking, I’m in favor of whatever produces the best music. For example, the performances I’ve heard played on a Piano-Forte pale in comparison to the interpretations by pianists of the Golden Age … and it’s not even close. In other words, who cares if something is performed on period instruments if the result is uninspired and dull?
Conclusion • There will always be people who say that when Mozart is performed by musicians wearing powdered wigs “it sounds better.” I reject such an idea. Is accompanied Gregorian Chant a development? Of course! On the other hand, the entire history of the Catholic Church includes development after development. For a long time, the pipe organ was forbidden (owing to certain associations it had). But as the centuries rolled along, those associations fell away—and the Second Vatican Council extolled the pipe organ’s use at liturgical services.
Hoc Unum Restat • For the record, I discovered a version of Nos Autem with a mysterious melody. Perhaps one of our readers could tell me whether they recognize it? Does anyone know its provenance?
1 An earlier version of this article erroneously said ‘female’ when referring to a boys’ choir. What was meant was trebles: viz. boys singing in the female octave.
