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Mediating between the past and the present has always presented a challenge to practitioners of early music. If they no longer face the charges of historical escapism, or even fetishism, that once burdened their existence, the recognition of how much they reflect predilections very much of our own time brings its new questions and problems. To what extent do we seek to ‘recreate history’; to what extent do we choose to ignore it? Does our interest focus on contexts or on works-or does it do so differently under different circumstances, and if so, why? Consideration of this last dichotomy in particular suggests that, in practice at least, some currently favoured trends in presentation reflect criteria at odds with the motives that supposedly underlie them.
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