Originally posted by EdgeleyRob
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Musical questions and answers thread
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Originally posted by Richard Tarleton View PostWhen such committed Schubertians as Uchida and Schiff on the one hand, and Brendel on the other, have such diametrically opposing views, what are we to think?
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2) What Schubert thought. No matter how fine the interpreter, Schubert remains the better Musician and the last word on all matters relating to his Music. If he wrote an Expo repeat, he's right and the divine Brendel is wrong. No disrespect intended: he may be a superhuman pianist, but he's still human.
Does it matter?[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by makropulos View PostNice question. The highest one I've ever come across is Mozart's concert aria Popoli di Tessaglio which goes up (twice!) to a high G - a tone higher than the Queen of the Night. Can anybody go higher still?
Interesting wiki article.It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by makropulos View PostThe highest one I've ever come across is Mozart's concert aria Popoli di Tessaglio which goes up (twice!) to a high G - a tone higher than the Queen of the Night.
In the manuscript of Die Zauberflöte, the Queen of the Night's part is written in Soprano Clef, so it looks a third higher to the Treble clef-accustomed eye! Florence Foster-Jenkins, where art thou?[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by ferneyhoughgeliebte View PostBlimey! I don't know the concert arias nearly well enough (in fact, I think that there are many of them that I've never heard).
In the manuscript of Die Zauberflöte, the Queen of the Night's part is written in Soprano Clef, so it looks a third higher to the Treble clef-accustomed eye! Florence Foster-Jenkins, where art thou?
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Originally posted by ferneyhoughgeliebte View PostBlimey! I don't know the concert arias nearly well enough (in fact, I think that there are many of them that I've never heard).
In the manuscript of Die Zauberflöte, the Queen of the Night's part is written in Soprano Clef, so it looks a third higher to the Treble clef-accustomed eye! Florence Foster-Jenkins, where art thou?It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by ferneyhoughgeliebte View Post1) Whatever we damn well want.
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2) What Schubert thought. No matter how fine the interpreter, Schubert remains the better Musician and the last word on all matters relating to his Music. If he wrote an Expo repeat, he's right and the divine Brendel is wrong. No disrespect intended: he may be a superhuman pianist, but he's still human.
Yes.
I think one needs to be pragmatic about it....certainly insofar as one should try to consider the audience you are playing to. If, for instance, you're doing Eroica for a mixed audience, maybe one with some young people and/or not classical junkies, then the first movement...indeed the whole symphony....can to them seem interminable. So IMO, it's a question of cutting your cloth.
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Originally posted by french frank View PostThere's also the question of the exact pitch intended by the composer. Is concert pitch reckoned to be about a semi-tone different now - which might wipe out some of the differences between what composers intended (as distinct from what singers sing nowadays).
Anyone know what the Soul's last notes are in Die Jakobsleiter?[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by ardcarp View PostI think one needs to be pragmatic about it....certainly insofar as one should try to consider the audience you are playing to. If, for instance, you're doing Eroica for a mixed audience, maybe one with some young people and/or not classical junkies, then the first movement...indeed the whole symphony....can to them seem interminable. So IMO, it's a question of cutting your cloth.
(Although it does sound a leeetle like those "arguments" that "mixed audiences with some young people" can't cope with Shakespeare in the original language and therefore need the assistance of Mr Fellowes )[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by ferneyhoughgeliebte View PostNo matter how fine the interpreter, Schubert remains the better Musician and the last word on all matters relating to his Music. If he wrote an Expo repeat, he's right and the divine Brendel is wrong. No disrespect intended: he may be a superhuman pianist, but he's still human.I keep hitting the Escape key, but I'm still here!
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Originally posted by french frank View PostThere's also the question of the exact pitch intended by the composer. Is concert pitch reckoned to be about a semi-tone different now - which might wipe out some of the differences between what composers intended (as distinct from what singers sing nowadays).Until I Met You written by Don Wolf and Freddy GreeneFrom the album, Mecca For Moderns 1981Label WMG Warner Music GroupManhattan Transfer is Cheryl Bentyne, ...
Cheryl Bentyne sings pretty high towards the end of this.
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Originally posted by LeMartinPecheur View PostYet last week's BaL surely exposed the fallibility of even the composer's published score. Dvorak's 6th symphony 1st mov't has a repeat marked, with some extra second-time bars IIRC. Yet we were told that there is a performance score carrying D's own very emphatic MS instruction not to observe the repeat under any circumstances!
Indeed, there is a case to be made that those composer who wrote Sonata structures after Marx formulated the whole idea of "Sonata Form" might be considered to have written repeat marks at the ends of Expositions in deference to Classical precepts, rather than out of structural/Tonal necessity. But the great masters of the Classical period (who had never heard the expression "Sonata Form") knew what they were doing (as demonstrated in those Sonata Allegro movements that do not mark a repeat at such points) and were thinking of the repeats in terms exactly of such structural/Tonal necessity, rather than tradition/convention. The greatest Symphonists of the 19th Century, Brahms and Bruckner, both understood when such repeats were needed or not (IIRC, Bruckner follows from Beethoven #9 in creating Music that needs to surge into the Development section): to omit the repeats in Brahms' first three symphonies is as silly as adding one to the Fourth. (And, yes, I'm aware that Brahms is reputed to have said to somebody who was a pupil of x who overheard y telling z that Brahms once said in his sleep that you could miss them out if you were so cloddish as to play all four symphonies in the same concert. The Music, and its sensitive performance, claims otherwise.)
You can do what you like with Dvorak - although I find the melodic charm of the Movement cited so lovely, I think it's an enhancement to hear it twice: the composer's first thoughts better than his later ideas, IMO.[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by ardcarp View PostDoes it? Surely top F is perched on top of a mere 2 leger lines? Or have I misunderstood your drift?
I first saw the part in a facsimile of the manuscript and thought that he'd written a top A - now that would have brought the walls of Sarastro's palace down![FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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