I like your idea about big to small, getting the structure of the piece in its entirety, then gradually working out the details rather than “peeing on every bush,” or over concern about every phrase. Thanks for sharing that.
Mahler wrote very precise instructions in his music but encouraged liberal interpretations in performing/conducting it. There may be other composers with a similar approach but I would except that is relatively uncommon. Perhaps you will touch on that dichotomy in your book.
I've been lucky enough to play a lot of the Mahler Symphonies, and actually devoted some time to using Mahler as an example of orchestral experiences. But I'm not sure if I will include that because it might seem a little out of place with the material preceeding it.
Wow, what a vast topic - where to draw the line between strict obedience to the score and one's own concept or interpretation of same. I think we have to consider several questions, and apply them on a case-by-case basis. For one thing, what period does the music come from? What do we know about performance practices for said period? The performances of, say, a Bach cantata and a late romantic violin concerto will by definition be very different, in approach and technique, from one another. We know that the use of portamento, for example, became the norm in string music during the Romantic period even through the first half of the 20th century. Music of that period in general has been "interpreted" with much greater latitude than that of the previous eras. Another thing to consider is that our actual sense of musical "taste" - a loaded concept if there ever was one - has changed over time as well. What was once praised as "expressive" at one time may now be considered "over the top" by today's standards. So yes, the whole subject of performance parameters is quite a can of worms, and far from being an exact science. I look forward to your book!
Yes, for sure it is a matter of taste. And, as an example of Bach, I played some tours with Helmuth Rilling conducting the b minor Mass, and his interpretations were not close to being authentic interpretations (in just about every way). But his performances were incredibly moving.
I like your idea about big to small, getting the structure of the piece in its entirety, then gradually working out the details rather than “peeing on every bush,” or over concern about every phrase. Thanks for sharing that.
Mahler wrote very precise instructions in his music but encouraged liberal interpretations in performing/conducting it. There may be other composers with a similar approach but I would except that is relatively uncommon. Perhaps you will touch on that dichotomy in your book.
I've been lucky enough to play a lot of the Mahler Symphonies, and actually devoted some time to using Mahler as an example of orchestral experiences. But I'm not sure if I will include that because it might seem a little out of place with the material preceeding it.
Wow, what a vast topic - where to draw the line between strict obedience to the score and one's own concept or interpretation of same. I think we have to consider several questions, and apply them on a case-by-case basis. For one thing, what period does the music come from? What do we know about performance practices for said period? The performances of, say, a Bach cantata and a late romantic violin concerto will by definition be very different, in approach and technique, from one another. We know that the use of portamento, for example, became the norm in string music during the Romantic period even through the first half of the 20th century. Music of that period in general has been "interpreted" with much greater latitude than that of the previous eras. Another thing to consider is that our actual sense of musical "taste" - a loaded concept if there ever was one - has changed over time as well. What was once praised as "expressive" at one time may now be considered "over the top" by today's standards. So yes, the whole subject of performance parameters is quite a can of worms, and far from being an exact science. I look forward to your book!
Yes, for sure it is a matter of taste. And, as an example of Bach, I played some tours with Helmuth Rilling conducting the b minor Mass, and his interpretations were not close to being authentic interpretations (in just about every way). But his performances were incredibly moving.