Musical interpretation and anachronism: Time impurities in the interpretation modes

Abstract

In this paper, we aim to problematize the relationship between musical performance and music history taking as a point of departure the different modes of performance as categorized by Hermann Danuser: the “traditional mode”, the “actualizing mode” and the “historical-reconstructive mode”, the last one is also known as “historically informed performance (HIP)” since its “resurgence” in the 1960’s and 1970’s. Thus, we intend to show, by way of analyzing some recordings, the potential of musical performance in revealing the anachronistic character of musical works, i.e.: to bring to the surface the heterogeneous tem-poralities that conform the musical work, the “prophetic” of past music and what “survives” from these works in contemporary music.