Download Musical performance: a guide to understanding by John Rink PDF

By John Rink

This booklet unravels the complexities of taking part in track and divulges features of studying, taking part in and responding to tune proper to performances of all degrees. A survey of functionality throughout the a while results in a presentation of uncomplicated old, analytical and mental recommendations. 4 chapters stick with on instructing, improvement, perform and memorization. the following part considers the "translation" from rating to sound, actual projection, ensemble enjoying and function nervousness. the ultimate part addresses the act of listening, the legacy of recordings, track feedback and "performers on performance".

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450, i, bars 71–87 (piano with orchestral reduction) 25 26 peter walls strings. As the solo part approaches the cadence at bar 86 (where the strings effect a one-bar transition to the relative minor), it expands out to cover the full five-octave (F1 to f 3 ) range of Mozart’s instrument. Furthermore, the transparent tone of the instrument suits both the double thirds so prevalent in this example and the agile semiquavers. The autograph manuscript of Haydn’s Sonata in E major Hob. XVI:49 allocates it to the ‘Forte-piano’ – the first sonata to be thus described by the composer.

Bass bars have been strengthened, thicker sound posts inserted, bridges altered, the necks re-set at a different angle, string types changed and chin rests added. The sound is thus significantly altered in ways which may well suit the performance of nineteenth-century concertos but which do a disservice to the music of Stradivari’s own age. The art of the possible Once we have accepted that Haydn’s (or whoever’s) intentions are likely to be better realised on the instruments for which these works were conceived, there is another practical and contingent question that we as musicians living in the twenty-first century must confront: how narrowly should we set our focus in our efforts to match instruments to repertoires?

At best, the arena within which imagination functions is one in which a set of received assumptions is displaced by an alternative range of stylistic possibilities. That process of displacement can itself act as a stimulus to musical imagination. 10 23 24 peter walls A similar statement could be made about the role of performers. The performer, whose task it is to realise that score for contemporary audiences, is especially concerned with this act of mediation between an historic past and an aesthetic present.

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