Imagine being offered a chance to discuss a Mozart sonata with Mozart himself or to hear Bach play his own preludes and fugues. What musician would even think twice about such an opportunity? While we will never hear these masters perform their own works, we can still make educated guesses about how they likely expected their music to sound. Two important ways of doing this are by becoming familiar with period instruments and contemporaneous treatises that shed light on performance styles of the past.

Ed Klorman

Critics of the historical performance movement question the need to re-enact 17th- and 18th-century performances for 21st-century audiences. This view, however, misunderstands the main thrust behind the movement, which is simply to deepen our understanding of how composers understood their own music.

Consider, for example, the issue of notation. Over the centuries, the meanings of certain musical symbols have changed. Common sense dictates that an informed musician should know what each marking meant during the period in which a particular piece was written. We know from Fanny Davis's description of Brahms's playing that hairpins were intended as an indication to use rubato. Likewise, Leopold Mozart's Gründliche Violinschule (Treatise on the Fundamental Principles of Violin Playing) tells us many important details about dynamic and articulation markings in the late Baroque.

A bigger controversy has to do with the use of period instruments. In discussing this matter, it is important to understand the reasons behind the changes in the design of instruments. The modern violin, for example, with its metal strings, greater neck projection, and concave bow, differs from its Baroque counterpart. These changes were designed to increase the violin's projection and sustaining ability.

It seems clear, then, that 19th-century composers desired a stronger, more powerful violin for their music. At issue, however, is whether Baroque and Classical composers would have preferred modern instruments to the period instruments with which they were familiar. The answer is a resounding "maybe." Certainly some musicians would have been interested in modern instruments for their increased clarity and dynamic range. But other composers likely would have found these modern instruments too brash compared to the intimate and subtle nature of Baroque instruments.

This issue becomes even murkier when we consider which instruments we, as 21st-century performers, should be using. Today, with our larger halls and ensembles, Baroque instruments sometimes simply cannot be heard. However, even if we do choose to use our modern equipment, we can still emulate Baroque approaches to articulation and phrasing. The issue of projection need never stifle our interpretation.

Juilliard has begun to make important steps in encouraging its students' understanding of Baroque and Classical performance. With the inauguration of the annual Jerome L. Greene concert (see related article), dedicated exclusively to Baroque music, the School will now have a venue dedicated to historically informed performances of 17th-century music. Additionally, Juilliard has been fortunate this year to host master classes with Baroque violinist Jaap Schröder and conductor Sir Roger Norrington, who led an exciting--if somewhat controversial--performance with the Juilliard Orchestra in December at Carnegie Hall.

The recent establishment of the Juilliard Bach Aria Ensemble has created an ongoing opportunity for 13 Juilliard students to perform Baroque music. It would be helpful, however, if the School would consider organizing an additional chamber orchestra to allow more students the opportunity to explore Baroque and Classical performance styles.

One remaining obstacle is the scarcity of authentic Baroque and Classical instruments for students to use in these concerts as well as for their own study. Although Juilliard does have a small collection of Baroque string and wind instruments, as well as period harpsichords and a fortepiano, more students would be able to experience Baroque performance if the collection were expanded. Furthermore, the acquisition of additional instruments would make it possible for complete ensembles to perform on period instruments. Wouldn't the annual Greene concert be even more exciting if at least a portion of the program could be heard on these instruments? Meanwhile, more students should take advantage of the instruments that the School already has. Even if we choose to perform on modern instruments, the experience of trying a Baroque instrument (and particularly Baroque bows) is a valuable tool for learning about historical approaches to phrasing and articulation.

Too many musicians view the historical performance movement as a kind of style police, imposing a litany of rules to stifle expression. In reality, however, Baroque performance is actually about promoting greater freedom--that is, freedom within the framework of the conventions and traditions that Baroque and Classical musicians enjoyed. The goal, then, is to heighten our musical expression. In historical performance, as in any performance, good taste should be the ultimate guide.

Ed Klorman is a third-year viola student.

Voice Box is a student opinion column appearing regularly in The Juilliard Journal. To submit a column for consideration, please e-mail it to journal@juilliard.edu with “Voice Box” in the subject heading, and include a phone number where you can be reached. Columns should cover topics of interest to the Juilliard community, and be about 500 words.