Riddles of musical text and creative guesses of the performer
Throughout the history of performance, some musicians trusted their intuition and creatively beat the composer’s ideas, while other performers carefully followed all the instructions of the author. Undoubtedly, there is only one thing – it is impossible to violate the tradition of literate reading of the author’s musical text. The performer is free to choose timbre delights, slightly adjust the tempo and level of dynamic nuances, maintain an individual carcass, but change and independently set semantic accents in the melody – this is no longer an interpretation, this is co-authorship! The listener gets used to a certain variant of music organization.
Many admirers of the classics specially attend concerts at the Philharmonic to enjoy the beloved beauties of musical works live, and they do not want to hear progressive performing digressions that distort the true meaning of world music masterpieces. Conservatism is an important concept for classics. That’s what it is! In musical performance, two concepts are inextricably coexisting, on which the foundation of the entire performing process is laid: the content is the technical side. In order to guess (play) a piece of music to reveal its true (author’s) meaning, it is necessary that these two points be organically intertwined.
RIDDLE No. 1 – CONTENTS
This riddle is not such a riddle for a competent educated musician. Many years have been taught to unravel the content of music in schools, colleges and universities. It’s no secret that before you play, you need to carefully study not the notes, but the letters. First was the word! Who is the author?! The composer is the first thing attention should be directed to. The composer is God himself, the meaning itself, the idea itself. Name and surname in the upper right corner of the music page will direct you to the correct search for disclosure of content. Whose music we play: Mozart, Mendelssohn or Tchaikovsky – this is the first thing you need to pay attention to. The composer’s style and aesthetics of the era in which the composition was created are the first keys to a competent reading of the author’s text. What are we playing? The image of the work
The name of the play is a reflection of the idea of the work, this is the most immediate content. The Vienna Sonata is the embodiment of a chamber orchestra, the Baroque prelude is the voiced improvisation of the organist, the romantic ballad is the sensual narration from the heart, etc. If we interpret program music – music with a certain name, then here it is still simpler. If before you is a “Round dance of the Dwarves” by F. Liszt, or “Moonlight” by Debussy, then solving the mystery of the content is only a joy. Many confuse understanding of the image of music and the means of its embodiment. If you think that you understand 100% the image of music and the style of the composer, this does not mean that you will also perform it expertly.
PUZZLE No. 2 – EMBODIMENT
Under the fingers of a musician, music comes to life. Music icons turn into sound. A sounding image of music is born from the way those or other phrases, episodes are pronounced, on which the semantic emphasis was turned, and what was obscured. At the same time, it adds up and gives rise to a certain performer style. If you want – believe it or not – but the author of this article can already determine from the first sounds of Chopin’s etudes who plays them – M. Yudina, V. Horowitz, or N. Sofronitsky. The musical fabric consists of intonations, and the skill of the performer and his technical arsenal depend on how these intonations are voiced, but the arsenal is more spiritual than technical. Why? The outstanding teacher G.Neygauz offered his students an amazing test. The task required to play one any note, for example, “do”, but with different intonations: with admiration; inquiringly; with sadness; with joy; menacingly; with glee; like a cry of pain; excitedly; with surprise, etc. Such a test proves that none of the most advanced technical aspects of a musician will matter without an internal understanding of the meaning of music and intonation. Then, when you understand that the “excitement” is difficult to convey in clumsy passages, then you will make every effort to ensure the evenness of the scales, chords, and small bead technique. Labor, gentlemen, only labor! That’s the whole mystery! Teach yourself “from the inside”, improve yourself, fill yourself with different emotions, impressions, information. Remember – the performer is playing, not the instrument!