Gustav Leonhardt, the Naarden circle and early music's reformation
From the 1950s onwards, Gustav Leonhardt spearheaded a movement towards greater historical awareness in the performance of early music in Holland. Though much of his work deserves the epithet ‘pioneering’, many of the guiding principles on which it was founded were inherited by the youthful Leonhard...
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| Veröffentlicht in: | Early music |
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| Format: | UnknownFormat |
| Sprache: | eng |
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2014
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Tag hinzufügen | Zusammenfassung: | From the 1950s onwards, Gustav Leonhardt spearheaded a movement towards greater historical awareness in the performance of early music in Holland. Though much of his work deserves the epithet ‘pioneering’, many of the guiding principles on which it was founded were inherited by the youthful Leonhardt from a group of theologians, musicians and music critics associated with the Nederlandse Bachvereniging (Dutch Bach Society). Leonhardt grew up in close proximity to this group of musical reformers (here referred to as the ‘Naarden Circle’) because his father, George Leonhardt, was a long-standing member of the Nederlandse Bachvereniging’s board of directors. The original goal of the Naarden Circle was to combat, by founding the Nederlandse Bachvereniging in 1921, the established and much-cherished Romantic performance tradition of J. S. Bach’s St Matthew Passion, as performed each year by conductor Willem Mengelberg at the Amsterdam Concertgebouw. Moreover, the Naarden Circle intended thereby to return Bach’s work its liturgical function. This article examines the legacy of the Naarden Circle as it played itself out in Leonhardt’s thought. (Vorlage) (BMS) |
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| ISSN: | 0306-1078 |