On 14/02/13 19:35, Fons Adriaensen wrote:
On Thu, Feb 14, 2013 at 11:16:27PM +0530, Rustom Mody wrote:
On Thu, Feb 14, 2013 at 10:15 PM, Folderol <folderol@xxxxxxxxx> wrote:
This displays the very rigidity I don't like. But as I said, it's a matter
of personal preference.
I wonder how much is the performer and how much the original
composer-intention?
I can't imagine how the initial 'Magnificat' could be played
in any other way than 'a tempo giusto' without breaking it.
It's a collective outburst of joy, leaving little room for
hesitation.
I agree. Same goes for Mozart, especially symphonies - I simply can't
stand it when conductors (voluntarily or not) can't keep the tempo.
Herreweghe tends to maintain rather strict tempo even for romantic era
orchestral music, maybe that's one reason why I like his work in
general. Rubato (in the broad sense) for me is something that can be
done by a soloist or a string quartet (within reason - it becomes
slimy rather easily). For a full orchestra plus choir it mostly sounds
fake to me.
As for 'Romantic' music (but also 'Baroque') I think there is space for
intelligent agogics - again what I think is important is the concept of
'beat' (more in the way ethnomusicologists intend it), that is.. the
tempo may locally fluctuate, but the listener should have the sensation
of a steady beat/flow... simple in theory hard to achieve in practice.
Although not perfect this is one of my favourite interpretations of the
Fifth (not to mention I love the conducting in general, the facial
expressions, the way he addresses instruments..) - in my humble opinion
tempo here is managed very well (and notice he is conducting by heart):
http://www.youtube.com/watch?v=N6K_IuBsRM4
[...]
I found it difficult to sit still in my chair :-)
When I listen to the Magnificat (but Bach in general) I can't stop
myself from rhythmically fidgeting, sometimes with some 'armchair
conducting', not to mention humming - which probably makes me look quite
weird when on the metro :)
Lorenzo.
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