Author: Tony Pay ★2017
Date: 2019-10-16 21:22
>> Was Rose himself misinterpreted (over-edited) by players like Bonade (and Drucker and other later editors of his etudes)? Or is it that Rose was the one responsible for Romanticizing the earlier music he used? >>
I seem to remember that we went into all of this earlier. But I now can't remember what we concluded about who was responsible for the varying degrees of romanticisation of the texts.
But in any case, it does seem to me that the music IS classical in nature, and that the editions, especially Bonade's, misrepresent that.
I had an interesting interaction with Bryan Magee, he of 'Wagner and Philosophy' and 'Popper', as well as many other books and interviews with philosophers. Read him.
We were playing 'The Magic Flute' at Glyndebourne on period instruments (OAE), and at one point Lisa Beznosiuk was asked to improvise a bit of music for solo flute to cover some stage business. She did something different every night, playing bits of Bach, Telemann and so on. But on the final night, because we were playing for the excellent Vladimir Jurowski, she chose to play the opening of the slow movement of Tchaikowski's Fourth Symphony, as a sort of nod in Jurowski's direction.
Magee, in the audience, was thunderstruck, not least by the fact that nobody else seemed to have noticed. So he buttonholed Marshall, the then manager of the orchestra, to ask what on earth was going on. And Marshall, at a loss (I don't think he'd even heard it), made up something about 'old folk tune', and flanneled. Of course, it took Magee very little time the next day to discover what codswallop that was, and he became very angry at having been misled.
Because I knew Magee a bit (he was the Labour Party MP for Waltham Forest, where I grew up) I undertook to smooth the matter over, and did so.
But it made me think: why did this very simple melody stick out like a sore thumb to a sensitive and musical member of the audience? And the answer is that Mozart couldn't possibly have written it. It belongs to a very different style.
I found it instructive to consider that; it gives, I think, a bit of an insight into why, for me, the Rose Etudes don't respond well to Bonade.
Tony
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