Steve Ganz wrote:Nice playing Florentin.
I have a question about the interpretation. I notice that instead of playing synchronous bass and treble as the music specifies, you are playing bass, with a delayed treble. For example, measure 4. Your rendition has the low E with a post-beat B (first string) in the first triplet group. I think the pattern is predominate.
Presuming this was your intended interpretation, what are your thoughts on this?
It is done quite subconsciously most of the time.
With slower pieces from the Romantic period, I tend to do this more often than other players would probably like to hear...
With Baroque music, not so much.
My teacher, back in the day, used to scold me for doing this to Sor's slower movements
As far as what is written in the score
, Romantic music, at least, gives performers at least some freedom in interpretation. How much
freedom is an entirely different topic...
Segovia's Rubato, not that I want to compare myself to Segovia, is a good example of that. I sometimes felt he went too far with Rubato, especially while performing Baroque music, but who am I to judge what Segovia did?
Specifically in one section of the above piece, I was aware of one place where I was playing the bass note early, intentionally. It is in the second section, where you move from the A minor to the D7. I played the open D string in that chord sort of by itself, with the actual chord to follow shortly, in order to sort of mask the jump from one chord to the next, or I rather to smoothen it out. Make sense?
Perhaps a better solution would have been to actually practice the chord transition so I can do it smoothly?...
Yes, perhaps. Well, that is one spot where the decision was conscious, and for a specific reason. The other spots are quite spontaneous.
Anyways, thanks for listening and also for commenting.
Have I provided a sufficiently clear answer?