Unfortunately, he does not answer every question the modern performer needs to ask, and it is beyond the scope of this study to offer definitive solutions (if this is at all possible). Hotteterre’s instructions relating to rhythmic alteration are brief and quite simple, and should cause us no problems if we are willing to accept the simple meaning of his French. This nouvelle edition has a table of agréments added to the Avertissement and contains a large number of changes to the score of the 1708 edition, especially additional agréments and other clarifications of the original text. In 1715, when Hotteterre published his second book of Piéces (Op. This was published the year after Principes and includes an Avertissement that expands on material discussed in Principes. The instructions contained within the pedagogical works can be supplemented by an examination of his published music, in particular his first book of Piéces (Op. In addition to explanations of the technicalities of flute playing (holding the instrument, posture, embouchure and fingerings), it includes important information about the more general aspects of performance practice, such as articulation, rhythmic alteration and the agréments that Hotteterre considered ‘necessary for playing correctly and with taste’. Principes is the best known and most influential of the three, as the flute treatise (which occupies 34 of the 52 pages of text) was the first set of instructions ever published specifically for the transverse flute. Principes de la flûte-traversière (1707),.Of particular importance to the present study are his three didactic treatises: Happily, much of the relevant source material relating to these activities has survived. Jacques Hotteterre le romain (1674–1763) was a composer, theorist, teacher, performer and instrument maker. And for this purpose original instruments, historical treatises, and all the rest have proven their value.’ Jacques Hotteterre le romain Nevertheless Taruskin sees value for the modern musician in the study of historical evidence: ‘Really talented performers are always curious, and curious performers will always find what they need in the sources and theorists-what they need being ways of enriching and enlivening what they do.’ ‘It is not the elimination of personal choice from performance that real artists desire, but its improvement and refreshment. Richard Taruskin is ‘convinced that ‘historical’ performance today is not really historical that a thin veneer of historicism clothes a performance style that is completely of our own time, and is in fact the most modem style around.’ Laurence Dreyfus believes that, by itself, this empiricist methodology is unhelpful in the study of performance practice, and that a new approach should acknowledge that ‘historical performance… an evolving and necessarily incomplete paradigm rather than a set of documented index cards set atop inferences culled from freshman logic texts’.
This approach was aimed at providing the ‘scientific’ support for a ‘code of performance’ of universal applicability ‘into which the score need only be plugged to set the music aglow with authenticity’. A number of authors are critical of the ‘positivist’ or ‘objectivist’ goal of amassing more and more facts. During the 1980s, numerous writings appeared which looked critically at the state of research into what has been termed historical performance practice.
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