When I did a recording in Olmutz - Cz. Rep -- the orchestra played my tenuto marks with a marked degree of separation -- when asked about this interpretation they all agreed I was wrong. I've been ambivalent about those dang things ever since.I'd put this down to a local tradition preserved in amber by the late iron curtain.
Jerry Berg
According to Forsythe, British tradition prior to ca. 1920 was for trombones to play *every* note loud and staccato. If there was a whole note marked p, they'd belt out a forte quaver, and rest for the remaining 3 1/2 beats. Needless to say, Forsythe had no kind words for this way of playing, e.g., the Mozart Requiem. I would suggest that the "Olmutz tenuto" is similarly inappropriate for that vast majority of works in which the standard interpretation was intended by the composer.
--
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com
_______________________________________________
Finale mailing list
[EMAIL PROTECTED]
http://mail.shsu.edu/mailman/listinfo/finale
