Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.1 6/24/83; site allegra.UUCP Path: utzoo!watmath!clyde!burl!ulysses!allegra!dep From: dep@allegra.UUCP (Dewayne E. Perry) Newsgroups: net.music.classical Subject: Re: Define: music, correct music, interesting music, program notes Message-ID: <2953@allegra.UUCP> Date: Wed, 12-Dec-84 10:32:18 EST Article-I.D.: allegra.2953 Posted: Wed Dec 12 10:32:18 1984 Date-Received: Thu, 13-Dec-84 02:27:21 EST References: <47@lanierrnd.UUCP> Organization: AT&T Bell Laboratories, Murray Hill Lines: 37 [no bells here, only the onion rings] Whence comes the music: the composer, the performer, or the performance? All three. The performance, even if flawed, is the primary place to find out if music has been perpetuated. But it is not the only place. As some composers hear the composition in their head before they write it down, some people have the ability to auralize a composition as well. How well the music is portrayed depends upon both the composer and the performer. The most important aspect of the performer's contribution is the amount of life he/she can infuse into the piece. However, no amount of life can make a bad composition into music (though a poor performer and performance can certainly turn a marvelous piece of music into dreck). Obviously a necessary component in the bringing to life is technical ability - but even here, there are tradeoffs: Dietriech Fischer-Dieskau's voice is certainly not what it used to be (and even then it nay not have been the best there was), but that does not stop him from turning out marvelous performances because of superb musicianship and interpretation. Original instrument performances are useful to provide insight into how the piece was originally conceived - something that is all to often lost these days. This approach may even bring out aspects of the music that were never noticed before (cf the concert of Hogwood's group vs the Lincoln Center Chamber orchestra). Further, original style performances (eg, the presence of ornamentation, etc) also provide this kind of insight. This biggest problem with both of these approaches is the capturing of the original style of performance with only the written word to go on in the majority of the cases (though there are some realized cases of cadenzas and ornamentation that survive). However, the original instrument/style is not the only way to make a piece of music live. Some of the huge orchestra approaches to small orchestra pieces turn out stunning and satisfying performances. In a word (so to speak), there are several ways to skin a cat (but probably none of them will be musically satisfying). Listen well - Dewayne