Author: brycon
Date: 2017-10-19 07:59
Quote:
My point was not clear, sorry. You are right, it is certainly very important to know exactly which markings are the composer's and which are the editor's. However, the so called "scholarly editions" or "Urtext editions" usually do not contain any editorial suggestions.
Ah--I gotcha.
Quote:
To interpret these music, the player must use their own understanding to decide things like dynamic, articulation etc. By contrast, if you just play as written, adding no dynamic change, accents, slurs etc. The music will be boring and actually it is not what Mozart intended.
Yeah, but it's true of all music (though maybe it's more exaggerated with earlier stuff). Even in contemporary music, like Elliot Carter's, where notation is incredibly precise, the markings require a great deal of interpretation. Moreover, perhaps because of the notational precision, performers often do less with Carter's music than with Mozart's (and Carter suffers accordingly).
One of my teachers, when talking about expressive markings, used to say: "Whereas a bad musician couldn't make music with everything notated, a great musician could do it with very little given to him or her."
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The Clarinet BBoard
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