OK
Ray
Darcy James Argue wrote:
Ray,
I don't see what the controversy is. Obviously it's better to have the
instruments the composer actually calls for whenever possible. I would
love to hear a performance with buccini.
But it's not like cellos and basses aren't generally available for a
performance of _Pines_. Respighi is just asking them to tune down
their lowest string by a semitone for a specific effect in a specific
spot. I am still not convinced that it ought to be such a big goddamn
deal to follow the composers instructions in this instance.
Cheers,
- Darcy
-----
[EMAIL PROTECTED]
Brooklyn, NY
On 26 Feb 2008, at 1:46 PM, Ray Horton wrote:
And you ignored my question about the buccini, which is a much bigger
case of ignoring the composer's wishes!
Thanks,
RBH
Darcy James Argue wrote:
On 25 Feb 2008, at 2:01 AM, Ray Horton wrote:
Darcy James Argue wrote:
Because the sound of an open string on cello -- especially that
scordatura B! -- is very different from the sound of a stopped
bass string. (When the basses divide, do the top ones at least
play the B without vibrato?)
Pizz, very soft, not so much.
Strongly disagree. Pizz open strings are every bit as distinctive as
arco open strings, and detuned strings are *always* distinctive
because we don't hear them that often. (In classical music, anyway
-- folk fiddlers employ alternate tunings all the time.)
What if the composer wants the sound of a violin section taking
their bridges off? It _would be_ a striking sound, and can't be
imitated any other way. Reductio ad absurdum, perhaps, but if the
composer should always get exactly what he/she wants...
Clearly, in this case, you'd either do it as written or refuse to
play the piece. Or, in the case of a living composer, have some
representative of the orchestra call up the composer and express the
section's concerns. Either one is acceptable -- unilaterally
substituting some other effect is not.
Cheers,
- Darcy
-----
[EMAIL PROTECTED]
Brooklyn, NY
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