Re: John Duarte Talks About Ida Presti

darwin_886@xxxxxxxx wrote:

On May 30, 12:00 pm, David Raleigh Arnold <d...@xxxxxxxxxxxxxx> wrote:
darwin_...@xxxxxxxx wrote:
On May 30, 9:20 am, Raptor <mpdan...@xxxxxxx> wrote:


This is a bit of hyperbole. In fact, one study that I know of
showed that musicians instructed to give a completely flat
performance were incapable of doing so.

What study is that?


http://tinyurl.com/2pa6nx

I think there is another one by Gabrielson but I can't find it right
now.

Thanks. I can see by the summary that the specifics were too
simplistic. "Rule based?". Too many assumptions.

For example, Tarrega marked an ascending chromatic line containing slurs
as a crescendo. This is outright impossible. The scale pickup in
Segovia/Sor #2 "obviously" calls for a crescendo, but the slurs rule
that out. I think that such passages were not intended to be crescendo,
but decrescendo, with a sudden forte on the following downbeat. I think
that in the early 19th century this sort of pickup was considered part
of the *preceding* phrase, not the following one. This is makes perfect
sense, especially because the piece starts without a pickup. I have
seen at least one marked that way, but usually the player was left to
figure it out for himself, which, IMO, Tarrega and Segovia consistently
failed to do. The problem is: What's the rule?

Some months ago I tried to demonstrate a 'flat' performance for a class,
and totally failed to do it, but I'm sure I could do it with a bit of
practice. Demonstating flat tempo and time-based phrasing is relatively
easy, but tonal balance and dynamics are a bitch. Lumping it all
together as 'interpretation' makes a mess, IMO. daveA

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