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I was naturally pleased to hear that Oxford is issuing Inside Early Music in paperback. But I had to wonder if a book written in the mid-1990s would seem dated by 2003. So I took my copy off the shelf and started browsing.
I was relieved to find that the topics debated in the book are still controversial. People still argue about the value of using historical information in performance. They still disagree over details of historical practice, from instruments in medieval polyphony to choral size in Bach. The listening public has not embraced the fortepiano in Beethoven or period instruments in Brahms.
People still argue about the broader issues too. Some dismiss what Christopher Page, in Chapter Four, calls “transhistorical humanness.” Others debate whether artists perform the music of their native countries with unique authenticity. And classical-music lovers still worry about trends already evident six years ago, as state support for the arts continues to decline and pop culture grows ever more dominant.
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