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Re: Playing the music

Author: Ski
Date: 2007-09-05 03:36

but in the places that Debussy did NOT write some ritardando or accelerano, would it not be equally wrong to add it?

Musicians have tradition and interpretation to contend with when performing the works of everyone from Bach to Rzewski. So unless you can cite a specific example of the liberties you're considering taking with any one piece, my feeling is that your question is generally too vague to be answerable.

But generally speaking...

When a composer hasn't annotated the score, unless otherwise directed elsewhere in the score, the lack of markings should speak as loudly as those parts that are marked. Out of respect for the composer and his/her music, a lack of markings should not be looked upon as a "loophole" for a performer to indulge in great interpretational latitudes and liberties.

This isn't to say that there's only one way to play/interpret a piece of music. A general idea of the latitude you may indulge in can be gleaned by studying various recordings of the piece(s) you have in mind to perform. From there you can learn some generally accepted guidelines, and decide for yourself if you prefer one interpretation to another.

Performers who have broken new interpretive ground, such as Glenn Gould and his interpretations of Bach, were subject to great scrutiny by traditionalists inasmuch as he was revered by others as a visionary. Who knows, maybe you have a Gould-like gift to interpret the great master composers' music in new ways that are more meaningful than novelty, or at the very least has serious (and not rebellious for the sake of it) intent. Or maybe you're just trying to find a way to sidestep the rigors of practicing/performing the piece in a traditional manner, the "ad libitum" approach being the easier one. But of course it's impossible to understand your motivations for wanting to take liberties unless you explain your motivations.

If you haven't learned these pieces yet, I'd say you owe it to yourself as well as the composers to play what's written, adding expressive touches that don't reek havoc with the composer's intentions. Once you've explored these works, i.e., "paid your dues", if your creative soul is absolutely aching to express something else through them, you are certainly free to do so in the privacy of your own practice room, but you will be taking a big chance performing your interpretations in public.

Post Edited (2007-09-05 03:42)

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