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Forum Full Member

Registered: 03/24/09
Posts: 1159
Location: , Extraverse
Tuesday, February 28 2017 @ 07:03 AM CST


This will link to a story in the Washington Post. The story is a fluff piece commemorating
a rare concert event. A take away, from the story, is the notion professional classical players lack a certain
passion in performance of their duties. Some people take up the excuse of emotional distance to
explain this... Sometime it is explained as the "reading without feeling". Other times it is explained
as an emotional disconnect between the modern performer and the composer. Ah? No fire? No ice? No laughter etc...
The author drops names on several wonderful pieces of music. Phil Glass, the composer, is a phenom.
Try to think about about this notion of passion in music? As opposed to simply playing the notes of a piece...
See, things can happen in yer music making space... just like in the concert hall. Be happening!

Forum Full Member

Registered: 08/29/11
Posts: 772
Location: Chattanooga, TN United States
Wednesday, March 01 2017 @ 04:50 PM CST

Dunno.   During my college days I attended an end-of-semester presentation put on by the music department in which one of the students gave a very “impassioned” rendition of ... Heart and Soul.

(Yeah, “that damned duet” that you could never get away from in third grade ...)

And, let’s face it:   some of the music in the classical musician’s repertoire is, IMHO, “simply intended to be impossibly difficult,” so that successfully playing the thing is a demonstration of your physical prowess and your hand/eye coordination in what is really nothing more (IMHO) than a tour de force.

I am familiar with this particular piece of music, and it can be very-easily played (well, so to speak ...) if one merely uses:   two pianos.
Forum Full Member

Registered: 05/20/04
Posts: 1961
Location: The Valley, Mississippi USofA
Thursday, March 02 2017 @ 09:27 AM CST

This is actually an idea I've run into a number of times, most notably I've heard a similar comparison between American and European musicians. I did an interview with a British musician back in college (late 80s) who said he preferred working with American musicians over European one basically saying while European musicians played with more feeling and artistic interpretation, Americans were more technically proficient.

In my band years in college and high school, you definitely knew players who knew their instruments back and forth, could rip up and down scales like crazy and play a piece almost technically perfectly on the first run through. But they sounded like a machine. There were other players who might not be so technically accurate, but they "got" the music in a way the others didn't, and while it might not be perfect, it had a quality the other might not have.

Think about taking a work - let's say my favorite the "Nimrod" movements from Elgar's Enigma Variations. I've heard it played "perfectly" and I've heard it played so beautifully it brought tears to my eyes. The "perfect" interpretations almost sound as if you put it note by note into Logic or some other DAW and pressed play.

I'm not really a snob about this. There's plenty to be appreciated in both a "perfect" and an "emotional" interpretation of a piece. And I believe any musician is capable, to some extent anyway, of doing either. I was a decent French horn player, but less technically skilled than some. I played more on an emotional level. But, there were times when I played a piece I didn't like or I'd played too many times and all there really was was technique and I was just "playing the notes."