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Is it more difficult to get the deceptively simple things perfectly right...


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Showing 51-56 of 56 posts in this discussion
In reply to an earlier post on 20 Dec 2013 21:20:56 GMT
Last edited by the author on 20 Dec 2013 21:28:54 GMT
scarecrow says:
Mandryka,

sorry I did not respond sooner, well I've always believed the sciences as very close to music, I'm not alone, modernity has taught us this, and with acoustic, and just intonation, measuring proportions and all the work with computers, there is still much to do. Many composers have given up, and simply want to perform OK, it's hard to keep the fidelity to the subject. . . Well I'm in no hurry. . .

The crux of the problem is to remain close to the sciences, and not get bogged as Stockhausen with all sorts of pseudo-cosmology, taking whatever brings the most drama and leaving the difficult bits to someone else, Who? another artist. or physicist.. . . . the music comes from the science, from the proportions you work at, from waves, and the study of waves,acoustics, their overtone shapes,timbres,phase transitions, entropy, why things fall apart,become more complex. . . well as an artist you can control this, but you want to be informed by what's real, by the quantum reality of things, and demise. . .It's a multiple subject that you need to choose how you approach it,What you study, for sciences are endless. . . Well that's art, every composer chooses all the time, their materials, and the road they go down. .. . .Just as a virtuoso must economize their practice time, how long to stay at a piece, when, and how to learn the music, This gets better with time, but the problems are always there, that is if you believe that great music is a challenge, and never ends its readings of what it is.. . . .

Bach had this idea of approaching the Infinite,or some call it-- God , but we are Finite Beings, so Bach simply tried his hand at whatever there was endlessly, the true Spirit of finding God or "G(o)d" then is the work, the process of what this brings to you as a composer. . .and you need to keep the fidelity to this subject your whole long life. . .

In reply to an earlier post on 21 Dec 2013 09:08:58 GMT
Bruce says:
"It's not bragging ifyou can play it." That's maybe not Charlie Mingus but another jazz great.

Are you thinking of another bass player - Jaco Pastorius - when he claimed to be the best bass player in the world? I think he actually said it's not bragging if you can back it up?

Posted on 22 Dec 2013 20:12:13 GMT
Edgar Self says:
Oh, yes, Harry, and everyone knows Mozart extemoporised freely when playing hisconcertos. Theentire slow movement of the "Coronation" concerto has no autograph left hand at all. But our one-note passage in the siciliano of Concerto 23 is so fine, stark, and striking that I gratefully accept and prefer their bare bones, especially over such an arresting and dramatic orchestral accompaniment.

Horowitz's late Mozart records are surprising, C major sonata particularly, and we've talked about his thuymb trick in the concerto with Giulini.

Posted on 22 Dec 2013 22:30:56 GMT
Last edited by the author on 22 Dec 2013 22:45:31 GMT
Larkenfield says:
Horowitz used to tell the story of a certain self-confident pianist who could play the fast passages with never any problem at all, but when it came to playing a simple melodic melody the pianist would begin to sweat! I sometimes got the same impression when Horowitz was playing Schumann's Träumerei - he never seemed to get the pedaling right in one particular section and I could easily imagine him breaking out in a cold sweat as that certain passage was ready to come up about 30-seconds in on his famous Columbia recording. It sounds like he was thinking his way carefully through each note and one of my favorite pianists of all time still got it wrong. I don't exactly recall where I first heard this story, but it came from him and was meant to be instructive. He also said later that his playing got simpler as he got older because he realized that most listeners were already familiar with the music through recordings and he didn't have to exaggerate the contrasts like before. He developed as a great pianist to the very end and it's one reason why I revere his legacy as much as I do.

Posted on 23 Dec 2013 19:06:39 GMT
Edgar Self says:
Bravo, Larkenfield! A good story, and right on about Horowitz and "Traeumerei", which he finally got right in his very last public recital, Hamburg, 1986, issued by DGG. He probably knew as much about the piano as anyone who ever lived, although in performances naturally I like some things better than others. It's one of my biggest regrets that I never saw him live, and I had chances Sheer stupidity..

In reply to an earlier post on 27 Dec 2013 14:08:11 GMT
Last edited by the author on 27 Dec 2013 16:13:12 GMT
Mandryka says:
The comment about Bach is interesting. He was clearly aware of technical ideas in Lutheran theology, aswell as more esoteric ideas - numerology etc. And all that fed into his music, gave his music layers of meaning. The more you know about his world, the more of the ideas content of the music opens up, and the more profound the music seems. Profound in the sense of expression of ideas.

Of course it's hard to say how much he really understood. My guess his grasp was pretty limited, he wasn't a professional theologian after all. Just like you're not a scientist AFAIK. I don't know, your grasp of ideas like "dark matter" may be as superficial as (eg) Bach's ideas about how The Nativity is linked to The Crucifixion.

But I do think it's important to have more than a "poetic" grasp, just to be turned on by the combination of words dark + matter, or big + bang. Otherwise the music will be shallow, at the level of non -musical ideas.
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Participants:  14
Total posts:  56
Initial post:  11 Dec 2013
Latest post:  27 Dec 2013

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