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What counts in music

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  • regtas43
    I did not mean to suggest that beautiful sound is all that counts in music. There are other aspects of expressiveness that are important to. But personally I
    Message 1 of 3 , Dec 25, 2013

      I did not mean to suggest that beautiful sound is all that counts in music. There are other aspects of expressiveness that are important to. But personally I think it is really not very interesting to worry much about the aspects that music critics mostly discuss. We have all heard performances that reached us enormously. But what made them do this is to my mind almost always not expressible in words. especially not musical critic words.

      The "authentic " performance idea gave music critics are new field to play in. But it only really became interesting when the players in it began to reach mystical heights within their performance practices. The authenticity itself was to my mind and still is completely uniteresting and superficial. Mullova is  great musician. Her Chaconne is a wonderful thing. But the same decisions--to play lower in pitch, with less vibrato, with a more articualte style--could be just so much cold baloney done less wonderfully well.

      It is like the Way. If one can say what it is, that is not it.

      Probably the most tedious thing in the world to read is listing of movement times and things like that. After all, if one wanted it to go fsster, one could do it faster. The real musicality , the real music, lies somewhere else to my mind.

      It is all part of the money culture: The whole world is made nervous by things that cannot be nailed down, because if one cannot nail them down, one cannot make money off them.

      I like the mania for the Harmon Kardon 430i (which was cheap) and the original NAD 3020 far better than the feeling that one can buy utlra musical amplficiation for the price of a house. Maybe the mania was not really sensible but at least it did not try to reduce music to money!

      Tricky stuff. :Living in a completely materialistic culture makes it hard to imagine thinking other ways.

      Christmas night--time to go. May music live in your spirit throughout the year.

      REG

    • Martin Richards
      I agree with much of what REG says-a beautiful sound is crucial but my tastes differ as I generally prefer a historically informed performance with fewer
      Message 2 of 3 , Dec 26, 2013
        I agree with much of what REG says-a beautiful sound is crucial but my tastes differ as I generally prefer a "historically informed" performance with fewer instrument which better convey the texture and counterpoint. Old instrument well played (and intonation is a problem, especially for an amateur like me)  have a unique tone which has stronger and weaker notes and this was generally used as part of the sound wanted. For example Bach's musical offering trio sonata is a devil on an old instrument and was no doubt a bit of a challenge for the king but is right in hat key. Amis' Lucky Jim is by far his best book for me and great fun (film is a laugh too) but REG is being rather sly as it makes remorseless fun of the "Merrie England" early music (very so then) sandal wearing crowd. But each to his own. Thanks for all your insights this year and generous donation of your time. Happy Christmas. Martin



        On 26 Dec 2013, at 01:17, <regtas43@...> wrote:

         

        I did not mean to suggest that beautiful sound is all that counts in music. There are other aspects of expressiveness that are important to. But personally I think it is really not very interesting to worry much about the aspects that music critics mostly discuss. We have all heard performances that reached us enormously. But what made them do this is to my mind almost always not expressible in words. especially not musical critic words.

        The "authentic " performance idea gave music critics are new field to play in. But it only really became interesting when the players in it began to reach mystical heights within their performance practices. The authenticity itself was to my mind and still is completely uniteresting and superficial. Mullova is  great musician. Her Chaconne is a wonderful thing. But the same decisions--to play lower in pitch, with less vibrato, with a more articualte style--could be just so much cold baloney done less wonderfully well.

        It is like the Way. If one can say what it is, that is not it.

        Probably the most tedious thing in the world to read is listing of movement times and things like that. After all, if one wanted it to go fsster, one could do it faster. The real musicality , the real music, lies somewhere else to my mind.

        It is all part of the money culture: The whole world is made nervous by things that cannot be nailed down, because if one cannot nail them down, one cannot make money off them.

        I like the mania for the Harmon Kardon 430i (which was cheap) and the original NAD 3020 far better than the feeling that one can buy utlra musical amplficiation for the price of a house. Maybe the mania was not really sensible but at least it did not try to reduce music to money!

        Tricky stuff. :Living in a completely materialistic culture makes it hard to imagine thinking other ways.

        Christmas night--time to go. May music live in your spirit throughout the year.

        REG

      • djanszen1
        I think it s wonderful to see this wisdom publicly expressed by someone whom people listen to. It does not ofttimes survive intact past one s childhood, I
        Message 3 of 3 , Dec 26, 2013
          I think it's wonderful to see this wisdom publicly expressed by someone whom people listen to. It does not ofttimes survive intact past one's childhood, I suppose due to the side effects of a civilizing education. Music and the arts in general help reawaken our innate, seemingly mystical sensibilities, which is lucky, since they can't be put into words, at least not plainly sensible words. 
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