Interpret, recreate a work: a complex art, full of edges and specialties, but irreplaceable. The musical performer is certainly a creator, because without his living apron, music simply does not exist in reality but only on paper.A perfect example of interpretation is obtained by contrasting two versions of the same work, in the hands of different artists. Sometimes the differences can be stark, sometimes not so much.
The fact is that no two versions are and will not be the same. In musical performance, as in theatrical performance, it is the human being or the group of them who make that single version of a work.Although odious differences could be made between a conductor, an orchestra musician (for example, the seventh lectern in a row of first violins), a soloist or a chamber musician, in fact each one, in his role, is fundamental. and equally important.
The indicated roles may seem more or less relevant or protagonist. However, in all cases you must understand the music, fully handle the instrument and fully understand the ideas of a composer and his work.If I had to succinctly describe the phenomenon referred to, we would have to say that any musical work is written or designed with a certain structure, which can be very strict or tremendously flexible. In both cases, the so-called musical form(or structure) allows you to understand the syntax and the way in which the notes are grouped.
This results in ideas that are sufficiently coherent. To understand these structures, the student of interpretation should preferably resort to the basic models of dance or song and ideally those of the music of the late 18th and early 19th centuries, when the tonal system allows us to understand all this in its own right. greater degree of perfection and clarity. In this way, it is possible to understand precisely how the elements of tension and rest come into play that are manifested in harmony, that is, in the relationship of chords within a given tonality.
TALENT AND PERSEVERANCE
In the art at hand, as well as in other arts, there must be a talent, or innate natural conditions for it, which must be regularly promoted with a significant amount of perseverance. The study of an instrument or singing requires a dedication that goes far beyond the usual, since it includes a significant number of motor skills that, after developing, must continue to be practiced on a regular basis so that they remain active and operational. People enjoy watching live shows and give a lot of love to the artists and performers. That’s why we see a host of people who visit for Live concerts. Reserve your seats for live concerts near me from here.
Therefore, an interpreter must study his instrument on a daily basis, just as an athlete does in his training. This aspect, little understood by many, forces the interpreter to have a truly enormous passion for his work. Without it, it will be difficult to maintain a certain technical and musical level.It is known that a musician must practice the well-known scales, arpeggios and other mechanical schemes, which develop the skill and agility necessary to approach musical works. Only this aspect is tremendously absorbing and forces you to love the music and the chosen instrument intensely, to survive a whole life in this profession. Not a few notable musicians have refused to follow this rhythm, renouncing, despite their talent, a promising career as an instrumentalist.
THE PSYCHOLOGICAL PREPARATION WHEN FACING THE SCENARIO: THE FINAL STEP
Everything said above is reflected in reality when the performing musicians show their work, their study, on stage. Although it might seem quite obvious and easy, this is a highly important topic and in the greatest of cases highly complex. It is very different to study a musical work in the musician’s own solitude, in the case of the soloist, or in the intimacy and privacy of an essay in the case of an ensemble.
When the music is made public, the phenomenon is completed with the participatory listening of an audience.From my own experience, I will refer in particular to the solo phenomenon since I constantly alternate my activity between the solo, the chamber music and acting as a soloist with an orchestra. In this situation, one must deal with a series of ghosts. Physical and biological processes suffer, at the time of a presentation to the public, a series of disorders that we must understand, eventually fight against and, above all, make them our own to incorporate them into the system.
This may seem quite masochistic, but the fact of being faced with disorders in sleep, appetite, sweating, muscle control, concentration and many other aspects is a topic of high relevance for an interpreter.
BY THE WAY OF AN EPILOGUE
These reflections are the product of the evolution of a life dedicated to music and musical performance. Without a doubt we can find texts of enormous importance on the subject, as is the case of that interview by Joseph Horowitz with the immortal teacher Claudio Arrau, which reveals an amazing, wonderful, eloquent experience and results.
Reading is highly recommended. The autobiographical text of Daniel Barenboim also provides important insights in this regard.Each interpreter must follow a process like a life apprenticeship. I have always thought that musical performance, like probably so many other disciplines of the arts, humanities and sciences, should be lived to carry them forward in parallel with the most intimate personal development. Any separation or transgression of this life-art unity, I do not think it can come to fruition.
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