florida state university college of music performance practice

ecording studio and recording technology, the demand for objective, precise, and literal
execution of the music became the method of choice.
Events leading up to and during the Second World War brought about an exodus
of intellectuals in many disciplines primarily from Germany and those areas occupied by
Germany. Stenzl and Zedlacher discuss during this time the most recent of the three
interpretive approaches, which also had roots in the beginning of the century, commenced
and is described as the restoration approach. 76 The restoration approach sought to
perform music of earlier eras on restored or replicated original instruments in the manner
of when it was composed. The restoration approach, like the Jugendmusikbewegung
(Youth Music Movement) with which many of the founding and charter members of the
restoration approach were associated, sought to break away from the inherited
chronological tradition of the immediate past and sought to reclaim the practices of music
prior to 1800. 77 Among the intellectuals who fled German control were many musicians
who were responsible of influencing several generations in the continental (largely
German) approach to early music, scholarship, and performance. 78 Personalities such as
Karl Haas, Paul Hindemith and Erwin Bodky greatly contributed to disseminating ideas
concerning scholarship and performance to countries such as Great Britain and the United
States of America. 79
German- born conductor and musicologist Karl Haas escaped Nazi persecution by
immigrating to London, England where he created the London Baroque Ensemble. 80
While studying at the University of Munich and Heidelberg, Haas concentrated in the
music of the viola d‟amore where upon his arrival in England he mentored many
musicians in playing, as well as other earlier instruments such as the viola pomposa,
bassoon, and side drum. 81 Haas possessed an invaluable collection of around five-
thousand microfilms of rare music, much of which were still in manuscript form. Many
76
Stenzl and Zedlacher, “In Search of a History of Musical Interpretation,” 692.
77
Ibid.
78
Fabian, Bach Performance Practice, 32.
79
Ibid.
80
Arthur Jacobs, “The London Baroque Ensemble,” The Musical Times (September 1952)
http://www.jstor.org/stable/934444 (accessed October 25, 2007).
81
Ibid.
17