Author: orchestr
Date: 2008-10-07 19:27
I'm so glad this post has inspired such discussion! I think I've learned more about the cadenza than I ever did in lessons with my former teachers! I totally agree on the latin rhythm, I think I just took it for granted. And I think Michael is right when he says it's not jazzy in the Benny Goodman sense. Copland wanted it "in the jazz idiom", but that doesn't mean it can't be in the LATIN jazz idiom! Most of the latin/choro music I've heard is very rhythmic, very constant, kind of like bluegrass music, and this also argues against putting the pauses in. I practiced the cadenza these past few days and found that I CAN make a statement without putting pauses between phrases, but doing more with accents, dynamics (now I just sing through those high D's, but when it goes down low, I like to get really soft and build to the ff's). I also agree that 10 people can play exactly what is on the page, and play it completely different. I mean, if you tell someone to play a passage and think of a spring meadow, and then play it again exactly the same while thinking of a volcano erupting, they can't help but put in little nuances that change their playing, even when tempo, articulation, accents, rhythm, etc. are basically the same. It's these nuances, these micro-gestures that make music individual to each of us. We don't need to swing the eighths in Copland to make a statement!
So, going back to the Brazillian element, I have a big question. As we all know, Copland said, "a phrase from a currently popular Brazilian tune, heard by me in Rio, became embedded in the secondary material." Does anyone know what this "popular" Brazilian tune was?
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