This study focuses on the performance practice of the Austrian conductor, Nikolaus Harnoncourt (1929–2016). The approach is aesthetical and philosophical rather than biographical and historical. The study aims at discussing and developing concepts (partly taken from Harnoncourt’s own texts, partly from a broader theoretical vocabulary) that may reveal and make visible central aspects of Harnoncourt’s specific interpretation and performance practice. It also seeks to contribute to a more general conceptual development in current research on musical interpretation, especially with regard to orchestral music.
A basic premise of the study is that Harnoncourt’s performance practice has its roots in what has been called the historically informed/oriented performance practice (HIP). The study argues that the historical orientation that characterizes this movement adds a discursive element to the practice of musical interpretation. By ‘discursive element’ I mean partly an occupation with historical knowledge and information (which is usually articulated in academic terms), partly a reflection on how this information may be seen to influence the concrete musical performance. The basic inquiry of the study is directed toward the relationship between historical consciousness and musical success; between conceptual orientation and practical interpretation and between theoretical discourse and aesthetic experience.
The study argues that the main characteristic of Harnoncourt as a conductor is how he manages to turn the discursive element into an imminent aspect of his performances, regarded as objects of my aesthetic experience. In other words, the role of discourse and discursivity is not merely limited to the preparatory work ahead of the actual realisation. Rather, it forms an axis that reaches into the very moment of musical performance and of musical listening. How this happens is discussed partly through the analysis of these three examples:
- Symphony No. 39 in E flat major by W. A. Mozart, first movement
- Symphony No. 5 in c minor by L. v. Beethoven, second movement
- Symphony No. 8 (The Great C major) by F. Schubert, second movement
– and partly through a thorough investigation of the relationship between musical performance and the listening experience. Regarding Harnoncourt’s own work, the concepts of history, language and transparency will be of central importance, whereas the concepts of performativity and aesthetic experience will be crucial when it comes to the listener’s perspective. The Austrian conductor Nikolaus Harnoncourt (1929–2016) is often regarded as a pioneer within the historically oriented performance practice. Educated as a classical cellist, Harnoncourt in 1953 formed his own ensemble, Concentus Musicus Wien, which soon became well known for experimenting with old instruments.
The dissertation
Title (translated from Norwegian): The sound of history. Performance practice of the Austrian conductor, Nikolaus Harnoncourt (1929–2016).
The dissertation is a monograph, and it is written in Norwegian.
