無聲舞 願在哪裏都是花香

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(Friday, May 16, 2008 at 3:45am)

Rachel Podger’s playing is decent, and Andrew Manze’s is, of course, extremely inspirational. However, no matter how much I enjoy (in fact, a lot) all those HIP recordings, what underlines my immense enjoyment is, frustratingly, anxiety.

There were fragments of thought on this; all a sudden, it becomes a thought.

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The anxiety, or even disgust, upon the urge towards ”authentic interpretation” is not musical, but political. After more than a century of globalization, popularization, and, to some extents, democratization of classical music, what so-called authentic movement calls for is largely counter-democratic. By researching, defining, and imposing what ”authentic” is, it attempts to re-constitute a world-scale knowledge institution upon classical music, and re-demarcate between (active) centers and (passive) peripherals in such an institution. After all, the institutional power, again, belongs to a few elites from limited nation-states with that skin colour.

The whole thing seems to be, though unfortunate, normal in the academic world-system. However, as classical music could be believed as a universal treasure of all humankind, the hierarchical world-system is simply far from such an ideal.

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Authentic movement, of course, is perfectly fine under the consensus of cultural pluralism. What contextually beautiful, is, after all, beautiful.