ABSTRACT
The quest for a performance that is as authentic as it can possibly be has come to be a genuine concern for many instrumentalists in our century. Indeed, a work impresses us most deeply when it is rendered in a manner that comes closest to what the composer envisaged. At present only opera directors, it seems, feel free to pay no attention whatever to the notion of original intent-much to the dismay of connoisseurs and lovers of operas of the past. Fortunately, however, nearly all keyboard players nowadays sense a need to ferret out the composer’s intentions residing behind the notation of works they want to perform.
