PipeChat Digest #3430 - Tuesday, February 4, 2003
 
Re: more on performance practice
  by <Cremona502@cs.com>
RE: more on performance practice
  by "Charles E. Brown" <chabrown@bellatlantic.net>
RE: more on performance practice
  by "Ronald Gibson" <gibsonronald@hotmail.com>
RE: more on performance practice
  by "Charles E. Brown" <chabrown@bellatlantic.net>
 

(back) Subject: Re: more on performance practice From: <Cremona502@cs.com> Date: Tue, 4 Feb 2003 16:29:38 EST     --part1_194.14b331ea.2b718ac2_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 2/4/03 4:14:51 PM Eastern Standard Time, chabrown@bellatlantic.net writes:     > the fingering that Bach; or whether he used > this registration over another holds little interest to me. I feel the > most important part of learning a new composition is just letting the > music speak to me. That cannot happen if one puts scholarly parameters > on a performance. In my opinion, that is a phony performance. To me, a > performance of integrity is one that you feel and that you can > communicate clearly. >   I agree with you; however, the scholarly part (i.e., the fingering, = knowledge of the organs he played/heard, temperament and voicing) help us understand =   what he was trying to say with the music and how he (himself) wanted to = say it.   But all of these things must be held in balance with our own experience, limitations, and vocabulary added into the mix.   These things, together, create another "edition" of the same story.     Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_194.14b331ea.2b718ac2_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 2/4/03=3D 4:14:51 PM Eastern Standard Time, chabrown@bellatlantic.net writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">the fingering that Bach; = or=3D whether he used <BR>this registration over another holds little interest to me. I feel the <BR>most important part of learning a new composition is just letting the <BR>music speak to me. That cannot happen if one puts scholarly parameters <BR>on a performance. In my opinion, that is a phony performance. To me, a <BR>performance of integrity is one that you feel and that you can <BR>communicate clearly. <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"> <BR>I agree with you; however, the scholarly part (i.e., the fingering, = know=3D ledge of the organs he played/heard, temperament and voicing) help us = unders=3D tand what he was trying to say with the music and how he (himself) wanted = to=3D say it. &nbsp;&nbsp;&nbsp; <BR> <BR>But all of these things must be held in balance with our own = experience,=3D limitations, and vocabulary added into the mix. &nbsp;&nbsp;&nbsp; <BR> <BR>These things, together, create another "edition" of the same story. <BR> <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR></FONT></HTML>   --part1_194.14b331ea.2b718ac2_boundary--  
(back) Subject: RE: more on performance practice From: "Charles E. Brown" <chabrown@bellatlantic.net> Date: Tue, 4 Feb 2003 16:49:40 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_001C_01C2CC6D.6C3A5920 Content-Type: text/plain; charset=3D"us-ascii" Content-Transfer-Encoding: 7bit   Bruce:   I hear what you are saying, and I don't mean to denigrate the scholarly aspect of it. However, in my opinion, ultimately it is the notes that will speak to me.   A big part of my practice, especially in the beginning of learning a new composition, is practicing away from the keyboard. Just closing my eyes and letting the music formulate in my mind. Letting it talk to me and visualizing the finished product.   Charles E. Brown   Author - Fireworks MX From Zero to Hero   Beginning Dreamweaver MX   Contributor - The Macromedia Studio MX Bible     -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of Cremona502@cs.com Sent: Tuesday, February 04, 2003 4:30 PM To: pipechat@pipechat.org Subject: Re: more on performance practice     In a message dated 2/4/03 4:14:51 PM Eastern Standard Time, chabrown@bellatlantic.net writes:           the fingering that Bach; or whether he used this registration over another holds little interest to me. I feel the most important part of learning a new composition is just letting the music speak to me. That cannot happen if one puts scholarly parameters on a performance. In my opinion, that is a phony performance. To me, a performance of integrity is one that you feel and that you can communicate clearly.           I agree with you; however, the scholarly part (i.e., the fingering, knowledge of the organs he played/heard, temperament and voicing) help us understand what he was trying to say with the music and how he (himself) wanted to say it.   But all of these things must be held in balance with our own experience, limitations, and vocabulary added into the mix.   These things, together, create another "edition" of the same story.     Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     ------=3D_NextPart_000_001C_01C2CC6D.6C3A5920 Content-Type: text/html; charset=3D"us-ascii" Content-Transfer-Encoding: quoted-printable   <html>   <head> <META HTTP-EQUIV=3D3D"Content-Type" CONTENT=3D3D"text/html; =3D charset=3D3Dus-ascii">     <meta name=3D3DGenerator content=3D3D"Microsoft Word 10 (filtered)">   <style> <!-- /* Font Definitions */ @font-face {font-family:Tahoma; panose-1:2 11 6 4 3 5 4 4 2 4;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {margin:0in; margin-bottom:.0001pt; font-size:12.0pt; font-family:"Times New Roman";} a:link, span.MsoHyperlink {color:blue; text-decoration:underline;} a:visited, span.MsoHyperlinkFollowed {color:purple; text-decoration:underline;} span.EmailStyle17 {font-family:Arial; color:navy;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in;} div.Section1 {page:Section1;} --> </style>   </head>   <body lang=3D3DEN-US link=3D3Dblue vlink=3D3Dpurple>   <div class=3D3DSection1>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Bruce:</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>I hear what you are saying, and I =3D don&#8217;t mean to denigrate the scholarly aspect of it. However, in my opinion, ultimately it is the notes that will speak to me.</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>A big part of my practice, =3D especially in the beginning of learning a new composition, is practicing away from the keyboard. Just closing my eyes and letting the music formulate in my =3D mind. Letting it talk to me and visualizing the finished =3D product.</span></font></p>   <div>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Charles E. Brown</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Author -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Fireworks MX From Zero to =3D Hero</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Beginning Dreamweaver MX</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Contributor - The Macromedia Studio = =3D MX Bible</span></font></p>   </div>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D2 =3D face=3D3DTahoma><span style=3D3D'font-size:10.0pt;font-family:Tahoma'>&nbsp;</span></font></p>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D2 =3D face=3D3DTahoma><span style=3D3D'font-size:10.0pt;font-family:Tahoma'>-----Original =3D Message-----<br> <b><span style=3D3D'font-weight:bold'>From:</span></b> =3D pipechat@pipechat.org [mailto:pipechat@pipechat.org] <b><span style=3D3D'font-weight:bold'>On = =3D Behalf Of </span></b>Cremona502@cs.com<br> <b><span style=3D3D'font-weight:bold'>Sent:</span></b> </span></font><font = =3D size=3D3D2 face=3D3DTahoma><span =3D style=3D3D'font-size:10.0pt;font-family:Tahoma'>Tuesday, February 04, 2003</span></font><font size=3D3D2 face=3D3DTahoma><span style=3D3D'font-size:10.0pt;font-family:Tahoma'> </span></font><font size=3D3D2 face=3D3DTahoma><span =3D style=3D3D'font-size:10.0pt;font-family:Tahoma'>4:30 PM</span></font><font size=3D3D2 face=3D3DTahoma><span =3D style=3D3D'font-size:10.0pt;font-family:Tahoma'><br> <b><span style=3D3D'font-weight:bold'>To:</span></b> =3D pipechat@pipechat.org<br> <b><span style=3D3D'font-weight:bold'>Subject:</span></b> Re: more on =3D performance practice</span></font></p>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D3 =3D face=3D3D"Times New Roman"><span style=3D3D'font-size:12.0pt'>&nbsp;</span></font></p>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D2 =3D face=3D3DArial><span style=3D3D'font-size:10.0pt;font-family:Arial'>In a message dated 2/4/03 = =3D 4:14:51 PM Eastern Standard Time, chabrown@bellatlantic.net writes: <br> <br> <br> <br> </span></font></p>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D2 =3D face=3D3DArial><span style=3D3D'font-size:10.0pt;font-family:Arial'>the fingering that Bach; or = =3D whether he used <br> this registration over another holds little interest to me. I feel the =3D <br> most important part of learning a new composition is just letting the =3D <br> music speak to me. That cannot happen if one puts scholarly parameters =3D <br> on a performance. In my opinion, that is a phony performance. To me, a =3D <br> performance of integrity is one that you feel and that you can <br> communicate clearly. <br> <br> </span></font></p>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D3 =3D color=3D3Dblack face=3D3DArial><span =3D style=3D3D'font-size:12.0pt;font-family:Arial;color:black'><br> </span></font><font size=3D3D2 color=3D3Dblack face=3D3DArial =3D FAMILY=3D3DSANSSERIF><span style=3D3D'font-size:10.0pt;font-family:Arial;color:black'><br> I agree with you; however, the scholarly part (i.e., the fingering, =3D knowledge of the organs he played/heard, temperament and voicing) help us =3D understand what he was trying to say with the music and how he (himself) wanted to say =3D it. &nbsp;&nbsp;&nbsp; <br> <br> But all of these things must be held in balance with our own experience, limitations, and vocabulary added into the mix. &nbsp;&nbsp;&nbsp; <br> <br> These things, together, create another &quot;edition&quot; of the same =3D story. <br> <br> <br> Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling =3D Acres http://members.tripod.com/Brucon502 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; = =3D </span></font></p>   </div>   </body>   </html>   ------=3D_NextPart_000_001C_01C2CC6D.6C3A5920--      
(back) Subject: RE: more on performance practice From: "Ronald Gibson" <gibsonronald@hotmail.com> Date: Tue, 04 Feb 2003 22:39:53 +0000   <html><div style=3D'background-color:'><DIV> <P><BR><BR></P> <DIV> <DIV></DIV> <P>Dear Mr. Charles E. Brown,<BR><BR></P></DIV></DIV> <DIV></DIV> <DIV></DIV> <DIV></DIV> <DIV></DIV> <P>"......a communicator of ideas".&nbsp;&nbsp; To be sure, but a = communicator of the Composer's ideas.&nbsp;&nbsp; To achieve a performance = of significance, one must to a degree subordinate one's own inclinations = in a quest to discover&nbsp;the context in which the Composer gave birth = to the Music.&nbsp; To abandon this quest is to limit one's interpretive = success to the realm of personal preference.&nbsp; This is unwise.&nbsp; = It&nbsp;diminishes &nbsp;the Art and ends up joining &nbsp;the Pop = world--- which has elevated the art of the personal to excess.&nbsp; = The&nbsp;subordination of personal inclination has always been the = principal hallmark distinguishing the sublime Arts from the mundane.&nbsp; = This is the quality that infuses the Arts with their significance as a = shared means of communication---the pathos of many supercedes the = sentiments of the individual.</P> <P>&nbsp; The "context" involves such matters as fingering, registration, = interpretation, and all the other elements of an historically-informed = performance.&nbsp;&nbsp; The clearest evidence of&nbsp; the truth of this = is that even great performing musicians ignore these precepts at their = peril.&nbsp; Think for a moment of the Stokowski-Bach orchestral = transcriptions and you will realize that their "reincarnation" is inferior = to Bach's original intent as organ literature.&nbsp;</P> <P>&nbsp;I think what&nbsp;CAN be criticized is&nbsp;a slavish = pedantry---&nbsp;that masquerades as authentic interpretation.&nbsp; This = is the quality&nbsp;that allows the entrance of snobbish, elitist, = holier-than-thou performances---which are to be abhored by all and are = actually counterproductive to the desirable goal of re-creation of the = great musical masterworks of the past.&nbsp;&nbsp; The role of the = Performer&nbsp;is actually &nbsp;less that of a creative artist and more = that of an executant of the creative ideas of the Composer.&nbsp;&nbsp; = The&nbsp;Performer who elevates him/herself to&nbsp;the level of the = creative genius of composition by feeling that his interpretive ideas are = the equal of the Composer's is doing the&nbsp;Art of Music&nbsp;a = disservice.&nbsp;&nbsp; There would of course be rare exceptions to this = but I would not be counted among them!</P> <DIV></DIV> <P>Sincerely yours,</P> <P>Ronald D. Gibson</P> <DIV></DIV> <DIV></DIV> <DIV></DIV></div><br clear=3Dall><hr>MSN 8 helps <a = href=3D"http://g.msn.com/8HMAENUS/2743">ELIMINATE E-MAIL VIRUSES. </a> Get = 2 months FREE*.</html>  
(back) Subject: RE: more on performance practice From: "Charles E. Brown" <chabrown@bellatlantic.net> Date: Tue, 4 Feb 2003 18:10:48 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_002F_01C2CC78.C1B9DB40 Content-Type: text/plain; charset=3D"us-ascii" Content-Transfer-Encoding: 7bit   Ronald:     I have certainly heard many exciting performances in an historical context. And I can cite many fine ensembles which use historical instruments and techniques. However, I can also cite many non-historical performances which give us fresh insight into the works. I do find a lot of merit in the Stowkowski transcriptions and interpretations by performers like Glenn Gould.     It has always been my experience that the quest to be historically correct can be a somewhat slippery slope. In many cases, we are basing our judgments on supposition. But, even beyond that, would we refuse to hear a Mozart performance by Alicia de la Rocha because she takes advantage of an instrument and dynamic tools not available to Mozart? Or not listen to Schnable play Beethoven?     Needless to say, I can certainly cite many great performances that did not attempt to be historically correct but were, nonetheless, inspirational and great.     Certainly Bach and his contemporaries did not have the resources on the organ of their day. Does that mean they cannot be used in performance of his works today? Where do we draw the line? Can a line be drawn?     It does get slippery!     Charles E. Brown   Author - Fireworks MX From Zero to Hero   Beginning Dreamweaver MX   Contributor - The Macromedia Studio MX Bible     -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org] On Behalf Of Ronald Gibson Sent: Tuesday, February 04, 2003 5:40 PM To: pipechat@pipechat.org Subject: RE: more on performance practice       Dear Mr. Charles E. Brown,   "......a communicator of ideas". To be sure, but a communicator of the Composer's ideas. To achieve a performance of significance, one must to a degree subordinate one's own inclinations in a quest to discover the context in which the Composer gave birth to the Music. To abandon this quest is to limit one's interpretive success to the realm of personal preference. This is unwise. It diminishes the Art and ends up joining the Pop world--- which has elevated the art of the personal to excess. The subordination of personal inclination has always been the principal hallmark distinguishing the sublime Arts from the mundane. This is the quality that infuses the Arts with their significance as a shared means of communication---the pathos of many supercedes the sentiments of the individual.   The "context" involves such matters as fingering, registration, interpretation, and all the other elements of an historically-informed performance. The clearest evidence of the truth of this is that even great performing musicians ignore these precepts at their peril. Think for a moment of the Stokowski-Bach orchestral transcriptions and you will realize that their "reincarnation" is inferior to Bach's original intent as organ literature.   I think what CAN be criticized is a slavish pedantry--- that masquerades as authentic interpretation. This is the quality that allows the entrance of snobbish, elitist, holier-than-thou performances---which are to be abhored by all and are actually counterproductive to the desirable goal of re-creation of the great musical masterworks of the past. The role of the Performer is actually less that of a creative artist and more that of an executant of the creative ideas of the Composer. The Performer who elevates him/herself to the level of the creative genius of composition by feeling that his interpretive ideas are the equal of the Composer's is doing the Art of Music a disservice. There would of course be rare exceptions to this but I would not be counted among them!   Sincerely yours,   Ronald D. Gibson         _____   MSN 8 helps ELIMINATE <http://g.msn.com/8HMAENUS/2743> E-MAIL VIRUSES. Get 2 months FREE*.   "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:pipechat@pipechat.org Administration: mailto:admin@pipechat.org Subscribe/Unsubscribe: mailto:requests@pipechat.org   ------=3D_NextPart_000_002F_01C2CC78.C1B9DB40 Content-Type: text/html; charset=3D"us-ascii" Content-Transfer-Encoding: quoted-printable   <html>   <head> <META HTTP-EQUIV=3D3D"Content-Type" CONTENT=3D3D"text/html; =3D charset=3D3Dus-ascii">     <meta name=3D3DGenerator content=3D3D"Microsoft Word 10 (filtered)">   <style> <!-- /* Font Definitions */ @font-face {font-family:Tahoma; panose-1:2 11 6 4 3 5 4 4 2 4;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {margin:0in; margin-bottom:.0001pt; font-size:12.0pt; font-family:"Times New Roman";} a:link, span.MsoHyperlink {color:blue; text-decoration:underline;} a:visited, span.MsoHyperlinkFollowed {color:blue; text-decoration:underline;} p {margin-right:0in; margin-left:0in; font-size:12.0pt; font-family:"Times New Roman";} span.EmailStyle18 {font-family:Arial; color:navy;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in;} div.Section1 {page:Section1;} --> </style>   </head>   <body lang=3D3DEN-US link=3D3Dblue vlink=3D3Dblue>   <div class=3D3DSection1>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Ronald:</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>I have certainly heard many =3D exciting performances in an historical context. And I can cite many fine =3D ensembles which use historical instruments and techniques. However, I can also cite many non-historical performances which give us fresh insight into the works. = =3D I do find a lot of merit in the Stowkowski transcriptions and interpretations = =3D by performers like Glenn Gould.</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>It has always been my experience =3D that the quest to be historically correct can be a somewhat slippery slope. In =3D many cases, we are basing our judgments on supposition. But, even beyond =3D that, would we refuse to hear a Mozart performance by Alicia de la Rocha because she = =3D takes advantage of an instrument and dynamic tools not available to Mozart? Or = =3D not listen to Schnable play Beethoven? &nbsp;</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Needless to say, I can certainly =3D cite many great performances that did not attempt to be historically correct but =3D were, nonetheless, inspirational and great.</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Certainly Bach and his =3D contemporaries did not have the resources on the organ of their day. Does that mean they =3D cannot be used in performance of his works today? Where do we draw the line? Can a = =3D line be drawn?</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>It does get =3D slippery!</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>&nbsp;</span></font></p>   <div>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Charles E. Brown</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Author -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Fireworks MX From Zero to =3D Hero</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Beginning Dreamweaver MX</span></font></p>   <p class=3D3DMsoNormal><font size=3D3D2 color=3D3Dnavy = face=3D3DArial><span =3D style=3D3D'font-size: 10.0pt;font-family:Arial;color:navy'>Contributor - The Macromedia Studio = =3D MX Bible</span></font></p>   </div>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D2 =3D face=3D3DTahoma><span style=3D3D'font-size:10.0pt;font-family:Tahoma'>&nbsp;</span></font></p>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D2 =3D face=3D3DTahoma><span style=3D3D'font-size:10.0pt;font-family:Tahoma'>-----Original =3D Message-----<br> <b><span style=3D3D'font-weight:bold'>From:</span></b> =3D pipechat@pipechat.org [mailto:pipechat@pipechat.org] <b><span style=3D3D'font-weight:bold'>On = =3D Behalf Of </span></b>Ronald Gibson<br> <b><span style=3D3D'font-weight:bold'>Sent:</span></b> Tuesday, February = =3D 04, 2003 5:40 PM<br> <b><span style=3D3D'font-weight:bold'>To:</span></b> =3D pipechat@pipechat.org<br> <b><span style=3D3D'font-weight:bold'>Subject:</span></b> RE: more on =3D performance practice</span></font></p>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D3 =3D face=3D3D"Times New Roman"><span style=3D3D'font-size:12.0pt'>&nbsp;</span></font></p>   <div>   <div>   <p =3D style=3D3D'margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><font = =3D size=3D3D3 face=3D3D"Times New Roman"><span =3D style=3D3D'font-size:12.0pt'>&nbsp;</span></font></p>   <div>   <p =3D style=3D3D'margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><font = =3D size=3D3D3 face=3D3D"Times New Roman"><span style=3D3D'font-size:12.0pt'>Dear Mr. =3D Charles E. Brown,</span></font></p>   </div>   </div>   <p style=3D3D'margin-left:.5in'><font size=3D3D3 face=3D3D"Times New =3D Roman"><span style=3D3D'font-size:12.0pt'>&quot;......a communicator of =3D ideas&quot;.&nbsp;&nbsp; To be sure, but a communicator of the Composer's ideas.&nbsp;&nbsp; To =3D achieve a performance of significance, one must to a degree subordinate one's =3D own inclinations in a quest to discover&nbsp;the context in which the =3D Composer gave birth to the Music.&nbsp; To abandon this quest is to limit one's =3D interpretive success to the realm of personal preference.&nbsp; This is unwise.&nbsp; It&nbsp;diminishes &nbsp;the Art and ends up joining &nbsp;the Pop =3D world--- which has elevated the art of the personal to excess.&nbsp; The&nbsp;subordination of personal inclination has always been the =3D principal hallmark distinguishing the sublime Arts from the mundane.&nbsp; This is = =3D the quality that infuses the Arts with their significance as a shared means = =3D of communication---the pathos of many supercedes the sentiments of the =3D individual.</span></font></p>   <p style=3D3D'margin-left:.5in'><font size=3D3D3 face=3D3D"Times New =3D Roman"><span style=3D3D'font-size:12.0pt'>&nbsp; The &quot;context&quot; involves such = =3D matters as fingering, registration, interpretation, and all the other elements =3D of an historically-informed performance.&nbsp;&nbsp; The clearest evidence =3D of&nbsp; the truth of this is that even great performing musicians ignore these =3D precepts at their peril.&nbsp; Think for a moment of the Stokowski-Bach =3D orchestral transcriptions and you will realize that their &quot;reincarnation&quot; = =3D is inferior to Bach's original intent as organ =3D literature.&nbsp;</span></font></p>   <p style=3D3D'margin-left:.5in'><font size=3D3D3 face=3D3D"Times New =3D Roman"><span style=3D3D'font-size:12.0pt'>&nbsp;I think what&nbsp;CAN be criticized =3D is&nbsp;a slavish pedantry---&nbsp;that masquerades as authentic =3D interpretation.&nbsp; This is the quality&nbsp;that allows the entrance of snobbish, elitist, holier-than-thou performances---which are to be abhored by all and are =3D actually counterproductive to the desirable goal of re-creation of the great =3D musical masterworks of the past.&nbsp;&nbsp; The role of the Performer&nbsp;is =3D actually &nbsp;less that of a creative artist and more that of an executant of =3D the creative ideas of the Composer.&nbsp;&nbsp; The&nbsp;Performer who =3D elevates him/herself to&nbsp;the level of the creative genius of composition by =3D feeling that his interpretive ideas are the equal of the Composer's is doing the&nbsp;Art of Music&nbsp;a disservice.&nbsp;&nbsp; There would of =3D course be rare exceptions to this but I would not be counted among =3D them!</span></font></p>   <p style=3D3D'margin-left:.5in'><font size=3D3D3 face=3D3D"Times New =3D Roman"><span style=3D3D'font-size:12.0pt'>Sincerely yours,</span></font></p>   <p style=3D3D'margin-left:.5in'><font size=3D3D3 face=3D3D"Times New =3D Roman"><span style=3D3D'font-size:12.0pt'>Ronald D. Gibson</span></font></p>   </div>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D3 =3D face=3D3D"Times New Roman"><span style=3D3D'font-size:12.0pt'><br clear=3D3Dall> </span></font></p>   <div class=3D3DMsoNormal align=3D3Dcenter =3D style=3D3D'margin-left:.5in;text-align:center'><font size=3D3D3 face=3D3D"Times New Roman"><span style=3D3D'font-size:12.0pt'>   <hr size=3D3D2 width=3D3D"100%" align=3D3Dcenter>   </span></font></div>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D3 =3D face=3D3D"Times New Roman"><span style=3D3D'font-size:12.0pt'>MSN 8 helps <a =3D href=3D3D"http://g.msn.com/8HMAENUS/2743">ELIMINATE E-MAIL VIRUSES. </a>Get 2 months FREE*.</span></font></p>   </div>   </body>   </html> "Pipe Up and Be Heard!" 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