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Controlling the uncontrollable: the fragile relationship between the flute, its music and playing techniques Jan De Winne - Royal Conservatory Brussels

Where are the limits of Historical Informed performance practice? Much has been written about the performers and their goal of ‘authenticity’ but my research puts the making of ‘authentic’ copies of historical instruments at its centre. In a creative process, some random lines on a white paper develop into a drawing, random words become alive and create a story… And for the luthiers: how much we try to reproduce exactly our example, at a certain stage the creative process goes its own way: the question is how far do we keep the process in gear and how far do we innovate? How to resist on one side the canonisation of what is supposed to be historical and on the other side the modernist expectations of our public that might expect a brilliant, loud and projecting instrument. Just as a written score is not the music, the reproduction of the exact dimensions of an instrument will not guarantee a convincing result. Where do we draw the line between reproduction and re-creation? Research funded by Royal Conservatory Brussels as part of a doctoral project.


Program book prepositions in artistic research  
Program book prepositions in artistic research