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Re: Tzigane

Author: grifffinity
Date: 2007-04-04 17:53

Quote:

I am struck by the contrast between her playing and the soloist on our listening CD, though. It may be a partly a function of the recording, but on the CD the bowing is pretty aggressive, sometimes pretty edgy. Our young player takes more of a playful approach. I am curious what is considered pleasing or idiomatic in traditional music of this sort.

Many times, performance practice differs from the composers intent on the page - as I recently discovered while helping a Cellist friend on Dvorak Cello Concerto. Most "famous" cellist play the second theme of the 1st Mvt. at around 76 when Dvorak explicitly marks 100 as tempo. Until I researched the original score, I had no idea that this was Dvoraks intent, since almost every cellist I have heard is copying Rostropovich or Yo-yo Ma recordings. Not to mention conductors slowing down the second theme during the orchestra exposition's famous "horn solo".

As for Tzigane, I'd suggest further research into what Ravel's original score says regarding style and tempi. IMO, there is a very playful aspect - almost tongue in cheek, as we hear later on, I believe the song is a variation of "Turkey in the straw". It's a frechman's rhapsody on gypsy - like themes.

For an additional education, research Balanchine's choreography to Tzigane, set on Suzanne Farrell. The way he set the work, giving her the lone 5 minute solo with violin, as a naughty gyspsy girl in the middle of the night. She was the most elegant and glorious technician of his muses - less Tanaquil LeClerq, and at the end he has her flapping her arms in a chicken dance. So, even Balanchine saw the fun in Ravel's music.