Dougdeacon, you are correct in your description of the harmonic
characteristics of period vs modern instruments. The opposite is believed
to be true by some (including some musicians) because modern
instruments' apparent brilliance is sometimes assumed to be the result of
increased harmonics (relative to the fundamental), when what is often the
case is the absence (or decrease) of specific harmonics due to
manipulation in design giving the sound a less complete harmonic
structure. This less complete harmonic structure can highlight upper
partials and give the modern instrument an edgy or "brilliant"
sound. The denser, sweeter sound of many period instruments is the result
of a more complete harmonic content.
I am not so sure about your contention that this more complete harmonic
structure would make the sound of period instruments more susceptible to
a tt's speed inaccuracies as all frequencies would suffer to the same
degree. However, you are quite correct about original instrument
recordings being an "acid test" for speed stability. But, IMO, the
main reason for this is what I pointed out in my previous post; the presence
or absence of vibrato. Music performed on period instruments normally is
played with very little or no vibrato. When this music was composed,
performance practice dictated very very sparse use of vibrato; only as an
occasional color as opposed to the constant use of vibrato that is common
today. The reason for this is that, for instance, a modern violin played with
no vibrato will sound louder than an original one, but dry and lifeless
because of (as you pointed
out) the diminished overtone content.
characteristics of period vs modern instruments. The opposite is believed
to be true by some (including some musicians) because modern
instruments' apparent brilliance is sometimes assumed to be the result of
increased harmonics (relative to the fundamental), when what is often the
case is the absence (or decrease) of specific harmonics due to
manipulation in design giving the sound a less complete harmonic
structure. This less complete harmonic structure can highlight upper
partials and give the modern instrument an edgy or "brilliant"
sound. The denser, sweeter sound of many period instruments is the result
of a more complete harmonic content.
I am not so sure about your contention that this more complete harmonic
structure would make the sound of period instruments more susceptible to
a tt's speed inaccuracies as all frequencies would suffer to the same
degree. However, you are quite correct about original instrument
recordings being an "acid test" for speed stability. But, IMO, the
main reason for this is what I pointed out in my previous post; the presence
or absence of vibrato. Music performed on period instruments normally is
played with very little or no vibrato. When this music was composed,
performance practice dictated very very sparse use of vibrato; only as an
occasional color as opposed to the constant use of vibrato that is common
today. The reason for this is that, for instance, a modern violin played with
no vibrato will sound louder than an original one, but dry and lifeless
because of (as you pointed
out) the diminished overtone content.