Introduction

As we have already observed, the ethos underlying historical performance has been under continual scrutiny since the 1980s. But surprisingly, no coherent opposition was ever launched during the previous two decades, when questionable technical standards were often allied to exaggerated musical mannerisms. At that time the prevailing air of supreme confidence and exclusivity among certain period players might well have provoked such a formal outburst, reflecting the verbal denunciation among players which was then common. But this never quite happened and the subsequent influence of historical music-making has been immense; as we have noted, Baroque repertory has increasingly become the province of period ensembles, whilst modern instrument groups have increasingly approached Haydn and Mozart with considerable caution. Period conductors have migrated to modern orchestras, influencing stylistic flexibility over a whole range of repertory. This sense of an evolving style has affected players and listeners alike and has arguably made all the years of experimentation worthwhile.

The social position of historical music

In a recent discussion of the role of music in society it has been plausibly argued that gains in public accessibility have been outweighed by the loss of something vital, the sense of a living culture, of people being directly engaged in music and, indeed, music of their time. A new symphony once had the appeal that a new play or film would have today. The recording world has changed all that: music has become a commodity, something to be sought and bought.