I just want to attempt to answer the last question with my opinion, if I may...
One problem today is that the old instruments are now almost always in museums and are not played by players- as they may break or degrade- or they are stringed instruments that are tuned by modern players. We can get close to, probably, but never exactly what it sounded like.
The fujara is, for the most part, going through a renaissance right now as we speak, as people are rediscovering it all over the world. With that, the tuning is changing drastically! It used to be just-tuned, guided by sound and comfort, but now it is tuned by computers and electronics- and then sold to the west. A fujara from Zvolen now may have designs from Dubrava or Ocova- and almost completely gone are the days of the "vybiana" or metal-hammered designs on a blackened, bacon-smoked fujara. :-) However, there are still enough fujaras around in familiy collections that we are lucky enough to hear how they are today, and how they were. Recordings help us alot too, as many of the oldest players of yesteryear are on records today. I find them much more daring and experimental than most players today, paradoxically.
I think we could in some cases, come very close to the "old ways," but many people have decided that this is good and this is not- and the style has become over-stylized when we look at the old way of playing things. You do not hear many players play like Jozef Libjak, but like Jozef Rybar, yes. If you ask me, these two contempoaries were great, but Libjak was a true virtuoso, as were some others at that time. Rybar was great, yes.... but in a different way. I prefer Paciga, Libjak, Mados, and Durica. Rybar, though, is god to most fujaristi. And that is what we hear today, interpretations of the Rybar style.
As for Bach, I don't know if we can get it. Johannes Christian Bach left us a good essay on how to play "dad's music," but the tuning still eludes us... and that is a large part of the character...
--- On Thu, 6/26/08, Ron Matviyak <rmat@...> wrote:
From: Ron Matviyak <rmat@...>
Subject: [Slovak-World] Re: _Jozef Mak_ ... fujara angle...
Date: Thursday, June 26, 2008, 5:16 PM
You present some good ideas in a short and concise manner, Helen.
Cultures are living and therefore changing beings, they don't stay in
one place or time, which is what I take to be part of what Ben is
saying regarding the culture presented on stage as well. It is a
snapshot of of a time and place and cannot help but be seen through
What were the folk costumes in Slovakia like before kroj were
developed to the point where they are now, and we try to keep them
'authentic'? I always wondered why Orthodox Jews chose the black
Eastern European fashion as their costume instead of going back to
more 'orthodox' Moses' robes. They chose their snapshot in time.
When we think Italian food we think of pasta and tomato sauce, but
what was Italian before pasta came from China and when the tomato was
believed to be poisonous?
In the authentic presentation of music, I have heard an occasional
tourist criticize Eskimo dance and music presentations as
unprofessional because they had 2 year olds and 80 year olds on stage
- but that was the genuine touch. They teach by inclusion and kids
learn by participating rather than sitting and observing, so seeing
the presentation through modern eyes the tourist was off base in
expecting Las Vegas polish.
Now a question for you musicians: how close to authentic do you see a
presentation of music with period instruments as opposed to the same
piece with modern instruments? Do we come close in your opinion? Can
--- In Slovak-World@ yahoogroups. com, "Helen Fedor" <hfed@...> wrote:
> Culture is something that evolves over time. Look at Slovak cooking.
> Holubky made with rice aren't "inauthentic" because way-back-when (the
> golden age of Slovak culture?) there was no rice, and barley or
> buckwheat groats was used instead. And what if an ingredient isn't
> avabilable in a new location? Are halus~ky not Slovak because feta or
> farmer's cheese is used instead of bryndza? Even in Slovakia there
are> many regional cultures, adapted to the local circumstances. Look
at how> many different kinds of kroj there are.
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