. . . in truth I am disappointed if my music is playing and a passerby, any passerby, doesn't stop to ask, with a twinkle of curiosity, "What is THAT?"
I know the feeling.
. . . This is partly why I can't get into highly detailed notation. I put staccato dots on a few notes and call a piece finished, and the next day I wake up and look at it and say, "No no, that should be legato!", and draw in a slur instead, and afterward I'll change my mind again. The piece changes for me too much in my head to try to obsessively pin it down with interpretive markings. The score is a guide, like lines in a play, not a fixed objet d'art.
Back when I had a number of piano students and had recitals, one of the things I most loved to do was have several players include the same piece in the set they played. That single piece would always sound very different coming from the hands of different players, and the differences illuminated the music as much as the players.
As to the overall point of the post, for whom is one composing, the Buddhist mind tool of considering one's motivation is very helpful.
No comments:
Post a Comment