When he began to study harpsichord seriously, at Basel in 1950, the instrument had beenneglected, or overlaid with Romantic sweetness, for decades. He intended to restore it tothe simple, original sound, salt rather than sugar, that Johann Sebastian Bach had writtenfor. If people found that sound too thin for modern halls, and the pitch disturbingly low, toobad; their ears would just have to get used to it. And after a while, they did.
1950年他开始在巴塞尔正式学习羽管键琴,当时这种乐器要么被人忽略,要么就是用来表现浪漫风格的甜蜜感,这种情况已经有几十年了。他决定要让羽管键琴重拾它原本那种简单的声音,那种是盐,而不是糖的声音,约翰?塞巴斯蒂安?巴赫当初就是为这种声音作曲的。如果人们觉得这种声音对于现代音乐厅来说太过于稀薄了,或是调子低得令人不安,太糟了,让他们去习惯这种声音吧。实际上,经过一段时间,人们真得习惯了。
It meant hard work for him. He began by tirelessly hand-copying hundreds of original scoresin the Vienna Library, when he was meant to be studying conducting . He continued by making a definitive recording in 1953 of Bachs Art of Fugue, andpublishing an impassioned argument that the piece had been written for solo harpsichordrather than ensemble. That stirred up interest in pre-Romantic music, though still notenough to fill a room when his little consort played Bibers unpublished Fidicinium sacro-profanum, or other treasures he had unearthed. He thought of those as his catacomb days.Fairly quickly, however, listeners warmed to Byrd and Frescobaldi, Rameau and Ritter; hisown recordings, especially with Nikolaus Harnoncourt of all Bachs Cantatas, fanned theflame; and the early-music movement has flourished ever since.
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