Rognvald wrote: ↑
Mon Oct 09, 2017 5:58 pm
"attempt to approximate the composer's musical intention"
Aside from the difficulty of determining the urtext, isn't this what we all do whenever we play a piece written by someone else? It ranges from my decision to apply certain dynamics in a passage to Julian Bream's cobbling together various pieces of Giuliani's Rossiniane
into a unified whole.
And isn't this what any arranger does? God knows how many transcriptions exist out there for our poor little instrument!
And... its much more than that! Many of us play what we find to be most important within any work
, whether or not it is *exactly* the composer's intent.
Attempting *exactly* the composer's musical intention is admirable, but will always fall short unless we ourselves are that composer.(and likely even if we are!) But playing what the composer evokes within us
is artistic communion.
I rewrite stuff all the time! Of course, I'm not a touring concert performer or famous recording artist, but the only people i have had mention / notice my edits were themselves world-class guitarists.
It all depends on context. Is one auditioning, playing a contest, performing a concert, for friends, or just for one's self? And who is the composer? If its Albeniz, well, so what? ...He wrote for piano anyway, and there are so many differing interpretations. If its Bach...well, we'd better be careful! Sure, those are all transcriptions too, but we'd better know our Counterpoint if we want to make it convincing!
2015 John H. Dick
1994 Larry Breslin ("Deerhead")
1952 Vincente Tatay