Throughout the history of performance, some musicians trusted their intuition and creatively played with the ideas of the composer, other performers carefully followed all the author's instructions. Undoubtedly, in all one thing - it is impossible to break the tradition of literate reading of the author's musical text.
The performer is free to find timbre delights at will, slightly adjust the tempo and level of dynamic nuances, preserve the individual touch, but changing and independently arranging semantic accents in the melody is no longer an interpretation, it is a co-author!
The listener gets used to a certain kind of music organization. Many admirers of the classics attend concerts at the Philharmonic Hall in order to enjoy the lively beauties of musical works, and they do not want to hear progressive performing deviations that distort the true meaning of world musical masterpieces. Conservatism is an important concept for classics. That's what she is!
In music performance, two concepts are indissolubly interlaced on which the foundation of the entire performing process is laid:
- content
- technical side.
In order to guess (perform) a piece of music to reveal its true (author's) meaning, it is necessary that these two points are organically intertwined.
Riddle number 1 - content
This mystery is not such a mystery for a literate educated musician. To solve the content of music is taught in schools, colleges and universities for many years. It is no secret to anyone that before playing you need to carefully study not notes, but letters. First there was the word!
Who is author?!
The composer is the first thing that should be addressed. The composer is God himself, the Meaning itself, the Idea itself. The name and surname in the upper right corner of the music page will direct you to the correct search for content disclosure. Whose music we play: Mozart, Mendelssohn or Tchaikovsky - this is the first thing to pay attention to. The style of the composer and the aesthetics of the era in which the composition was created are the first keys in a competent reading of the author's text.
What are we playing? Image of the work
The title of the play is a reflection of the idea of the work; this is the most direct content. The Vienna Sonata is the embodiment of the chamber orchestra, the baroque prelude is the sounded improvisation of the organist, the romantic ballad is a sensual narration from the heart, etc. If we interpret program music - music with a specific name, then it is still easier. If before you "Round dance of gnomes" F. Liszt, or "Moonlight" Debussy, then to solve the mystery of the content only in joy.
Many people confuse understanding of the image of music and the means of its realization. If you think that you understand the image of music and the style of the composer for 100%, this does not mean that you will master it as well.
Riddle №2 - the embodiment
Under the fingers of a musician music comes to life. Note icons turn into sound. The sound image of the music is born from the way in which those or other phrases, episodes were uttered, to which the semantic accent was turned, and what was obscured. At the same time, it adds up and gives rise to a certain artist style. Believe it or not, believe it or not, but the author of this article can already determine by the first sounds of Chopin's etudes who plays them - M. Yudin, V. Horowitz, or N. Sofronitsky.
The musical fabric consists of intonations, and the skill of the performer and his technical arsenal depend on how these intonations are voiced, but the arsenal is more spiritual than technical. Why?
An outstanding teacher G. Neuhaus offered his students an amazing test. The task required to play one any note, for example, "to", but with different intonations:
- with admiration;
- inquiringly;
- with sadness;
- with joy;
- threateningly;
- with glee;
- like a cry of pain;
- excitedly;
- with surprise, etc.
Such a test proves that no musician’s most advanced technical aspects will matter, without an inner understanding of the meaning of music and intonation. Then, when you realize that the “excitement” is difficult to convey with clumsy passages, you will make every effort to even the sound of scales, chords, and small bead technique. Labor, gentlemen, only labor! That's the whole mystery!
Teach yourself "from the inside", cultivate yourself, fill yourself with different emotions, impressions, information. Remember - the performer is playing, not the instrument!
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