A present with a future for the music of the past (or the updating of musical heritage)
Abstract
There is traditionally a special concern about the interpretative act, its scope and significance, with regard to the expression and dissemination of a musical heritage that is genetically out of step with the present, which nevertheless seems to possess an almost inexhaustible cultural wealth. This problematises the figure of the performer and his function as mediator between the composer and the listener, between a past epoch and the present, which entails a temporal and historical factor that must therefore imply an active, reflexive and conscious relationship between the past and the present. How much of eternity there is in the old, how the interpretative fact should be approached in order to optimally rescue from the musical historic heritage that which, being perhaps timeless, is still culturally enriching for today's spectacularised globalised society? But how can we escape the danger of becoming mere "museum interpreters"? In other words: how to bridge this historical gulf and communicate a message from the past in a contemporary, valuable and interesting way without betraying the communicative intent of the original composition? The intensive and, above all, analytical and reflexive use of new technological resources applied to the treatment of sound could be an optimal way to achieve this objective on the basis of an actualist hermeneutic approach.
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