music. (Sorry--no further
> details on hand.)
> Regards,
> Leonard Williams
>
> From: Ed Durbrow <[EMAIL PROTECTED]>
> Date: 2004/06/11 Fri PM 08:57:47 EDT
> To: lute list <[EMAIL PROTECTED]>
> Subject: Re: Tempo / Performance speed
>
>
>
>
> --
--
Dear All:
I have a recording of a piano roll made by Maurice Ravel himself playing
his "Pavane pour une infante defunte." He seems to be playing it way too
fast!
Yours,
Jim
liams
From: Ed Durbrow <[EMAIL PROTECTED]>
Date: 2004/06/11 Fri PM 08:57:47 EDT
To: lute list <[EMAIL PROTECTED]>
Subject: Re: Tempo / Performance speed
--
eographed dance of today, where everyone takes lessons).
Best, Jon
- Original Message -
From: "Thomas Schall" <[EMAIL PROTECTED]>
To: "Ed Durbrow" <[EMAIL PROTECTED]>
Cc: "lute list" <[EMAIL PROTECTED]>
Sent: Saturday, June 12, 2004 5:29 AM
Subj
Isabelle,
Thanks, quite informative to see the translations of the time.
May I attempt to summarize the two passages? I think both of your authors
are saying that there is an art to music, and there is a craft. And that
some players who don't have the art cover that by impressing with their
craft
>
> >What is the consensus on tempo? Did "they" play the
> >lute pieces slower than "us"?
>
It is difficult to answer this question because there
are very few theoretical documents about the tempo of
performance.
However, I had a look to Juan Bermudo's Declaración
(1555), and I think we can
I read Toby's mail as if he would suggest a certain liberty regarding
the speed of a piece even *within* a piece (agogic).
I don't think this is a good idea to incorporate in renaissance music.
As far as I know the idea of "music as speach" first appeared in the
french baroque. Here it could work
Toby,
Nicely said.
Best, Jon
- Original Message -
From: "Toby" <[EMAIL PROTECTED]>
To: "G.R. Crona" <[EMAIL PROTECTED]>
Cc: "lute" <[EMAIL PROTECTED]>
Sent: Friday, June 11, 2004 1:56 PM
Subject: Re: Tempo / Performance speed
> G.R.
Vance and Ed,
I had promised myself to stop commenting so often, but Vance's comments
bring back a memory. I was trained musically by an old curmudgeon, the
church choirmaster in the Episcopal church in a small town in New Jersey. I
joined the choir at age 10 in 1945, not for the glory of God or t
I think it was in the early thirties that a piece was written by Hoagie
Carmichael, it was basically in rag time. I've heard the original. It didn't
work, but at a new tempo it became a classic called Stardust (and as Hoagie
played it it wasn't the draggy smaltzy piece that it became later, it
reta
At 10:41 PM +0200 04/6/10, G.R. Crona wrote:
>suddenly
>realize, that (for me) much of the music actually gains in "stature" by not
>being played too fast (cf. La compagna). Of course a piece like f. ex.
>Dlugoraj's "Finale" is meant to be played fast, but have others had similar
>experience, and i
w" <[EMAIL PROTECTED]>
To: "Vance Wood" <[EMAIL PROTECTED]>
Sent: Friday, June 11, 2004 5:46 AM
Subject: Re: Tempo / Performance speed
> At 10:41 PM +0200 04/6/10, G.R. Crona wrote:
> >suddenly
> >realize, that (for me) much of the music actually gains in &
G.R. Crona wrote:
> Hi gang,
>
> I'm playing some "golden age" and Milano at the moment, and suddenly
> realize, that (for me) much of the music actually gains in "stature" by not
> being played too fast (cf. La compagna).
For me, playing music is quite like speaking. When
speaking, I can just
"bill" <[EMAIL PROTECTED]> schrieb:
> what does "otoh" and "voice leading" mean?
sorry, abreviations are a disease, too. I've come to learn that OTOH
means On The Other Hand.
Voice-leading is the way parts or voices of a piece are led (going up or
down, or repeating a tone). It is conditioned by
i've tried to find the source but no luck. i'll try later.
i remember seeing someone with st. vitus dance when i was very young -
a wonder to behold. the dance i'm talking about, however came more
from misery than any early music saturday night fever. more than
likely the plague had somethi
"bill" <[EMAIL PROTECTED]> schrieb:
> i've found that slower is better. a question of individual taste i suppose but
> stately
> play without forcing the volume sounds right.
my experience, too. OTOH, this way forces you to precisely keep up with
the beat, i.e. more precisely than with more spe
sday, June 10, 2004 1:41 PM
Subject: Tempo / Performance speed
> Hi gang,
>
> I'm playing some "golden age" and Milano at the moment, and suddenly
> realize, that (for me) much of the music actually gains in "stature" by
not
> being played too fast (cf. La compagn
i don't play anywhere near the amount of material that most of you play
or have access to, but for the little i do play i've found that slower
is better. a question of individual taste i suppose but stately play
without forcing the volume sounds right.
also, playing with a stiffish plectrum te
Hi gang,
I'm playing some "golden age" and Milano at the moment, and suddenly
realize, that (for me) much of the music actually gains in "stature" by not
being played too fast (cf. La compagna). Of course a piece like f. ex.
Dlugoraj's "Finale" is meant to be played fast, but have others had simil
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