Urtext and Interpretation: Some Thoughts by Jorge Bolet

[Guest]

I've been very stimulated by the discussion of the Scherzo:Adagio problem in Mahler symphony no 6 started by ahinton elsewhere on this forum and in recent editions of IRR magazine.

Here's is an interesting section from an unscripted discussion between pianist Jorge Bolet and the first classical music programmer of Classic FM, Robin Ray on the question of the relationship between the composer's Urtext and the experienced player's interpretation of it.

http://www.youtube.com/watch?v=6vrXvNVMoHQ

Would the Board's composers, musicians and enthusiastic civilians (like myself) like to comment please?

[french frank]

Dunno what the cognoscenti will say, am51, but it's a thought-provoking idea that a composer may have spent a month or six months composing a work and a performer will spend a lifetime with it. If he begins preforming it professionally at age 13, will he not interpret it differently when he's 50? Does that mean that he's getting closer to the composer's idea, or what? Where does the different interpretation come from and does it become less authentic or more authentic?

[I remember from way back hearing RR discussing Jorge Bolet - and saying that he liked his name to be pronounced, as here, George Bollitt. A great performer, JB.]

Thanks for the find.

[gradus]

A fascinating clip. Bolet's reply to RR's main question seemed like honest common sense and I also liked RR's supplementary question.

[Eine Alpensinfonie]

I remember the original broadcast well and it was good to be reminded of it. I must admit that I have been influenced by it (though I've never tinkered with music by others myself, before you take out your weapons).