David, who was this?
David, who was this?
Roland Chadwick wrote:...but it clear to me as a composer that Albéniz would view those results with scepticism.
Lol - having had the privelege of working with RC (on a recording with the English Chamber Orchestra) that really did make me laugh out loud. I have to say that "the composer's intention" (beyond simply getting their music heard and paid for) is an important consideration to me but in this case, in at least one respect, you're bang on the money. Maybe it takes one to know one.David_Norton wrote:Oh, horsefeathers. Arrogance and horsefeathers.
Probably not the composer that David's referencing Dirck but Maria Linneman is a stickler for every note being exactly as written. She once reprimanded me very sharply for inadvertently supplementing a short melodic passage with 3rds - her take was, "If you don't think that my music is good enough as it is then please don't play it at all."Dirck Nagy wrote:David, who was this?David_Norton wrote:With one notable exception, every composer I've ever known or worked with was simply happy that their efforts were considered worth the time and effort of getting played by anybody else.
Sorry, I've learned from past indiscretions to not "out" disputes I've had with non-forum people in public. Nothing good ever comes of it.
In his The Art and Times of the Guitar Frederic V. Grunfeld apparently (I don't have the book, but someone who does might confirm...I'm sure many have heard this story) quotes (unsourced) Albeniz, on hearing Tarrega perform a transcription of one of his pieces, as exclaiming "This is precisely as I had conceived it!" Anyone who has compared a Tarrega transcription to the original score knows he approached the art with a 19th century aesthetic...relatively free, romantic, creative, instrument-idiomatic. At least this is my feeling about his transcriptions, especially when compared to more contemporary interpreters/arrangers/virtuosi like Barrueco or Russell. Anyway, if Grunfeld's anecdote is true, it indicates old Isaac was pretty open to liberties being taken with his music if the spirit was preserved, and apparently he felt Tarrega brought the music closer to that original spirit than even his own piano score. Which makes a certain amount of sense since he was inspired by the folk music of spain.It seemed to me that the previous transcriptions had asked the question ‘what will sound good on the guitar?’ and the answer to that question lies in the transcriptions handed down to us but it clear to me as a composer that Albéniz would view those results with scepticism.