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Date: | Thu, 4 Nov 2010 14:06:58 +0200 |
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On Elaine Comparone: I've heard worse. And: Music exists for the
performer's and the audiences' joy. And there are different performers
and different audiences. Claiming that there is just one correct way
(or any wrong way) to perform a piece IMO is equivalent to declare
that this piece should be regarded as something dead belonging in
a museum and to historians, but not to people enjoying music
performed because of the performance.
That said:
> On 03/11/2010 20:36, Peter Bavington wrote:
> >
> > No-one has commented about the fact that Elaine Comparone played from
> > memory. I wish harpsichordists would do this more often. The music
> > desk must be a distraction.
Except when improvising or when playing extremely difficult and fast
passages: I *always* have the sheets present to my eyes: otherwise
I would be compelled to perform the piece the way I committed it to
memory, and not the way I consider as the best interpretation at
the very moment I perform it.
And now you can expel, flame, exorcise me, whatever.
Best
Heinrich
+----------------------------------------------
| Dr. Heinrich C. Kuhn
| Seminar fuer Geistesgeschichte und
| Philosophie der Renaissance
| Ludwig-Maximilians-Universitaet Muenchen
| D-80539 Muenchen / Ludwigstr. 31
| T.: +49-89-2180 2018, F.: +49-89-2180 2907
| http://www.phil-hum-ren.uni-muenchen.de/
+----------------------------------------------
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