On Apr 18, 2010, at 4:24 PM, David W. Fenton wrote:
On 18 Apr 2010 at 9:40, timothy.price wrote:
On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:
The player could tell from the content of the music what was
intended in regard to all of those parameters. So can any
properly-trained modern organist.
I've often thought that a good way to test musicianship is to give a
player a passage with no dynamics, tempo marking, articulations or
bowings and see what they make out of it.
From a performers perspective, what you have said is fine, no problem.
But the question about indicating performance markings was from a
composer who'
apparently has ideas as to where he want dynamics. If he wants to
have the piece
performed with HIS interpretation, then he best place the marking in
the score, IMHO.
That may be the problem with the academic world view of music,
Er, what? I stated FACTS. This isn't a matter of academia vs. the
real world (and let me remind you that academics live in the real
world, too).
thus
one might read a book during a properly trained performance.
This is complete malarkey, and betrays your personal prejudices.
YES, It does show my personal prejudices.
Don't pay any attention to non-organist comments, they can be
misleading.
If that's referring to me,
No, I was not referring to you, but to John Howell's previous comment
about thinking it best not to include dynamic markings, but that he
was not
an organist.
Like any music for any instrumentation, write what you want to hear
it sound like. Romantic period instruments may have swell boxes,
making the stops of that manual capable of dynamics from p to f, and
many organ have been adapted. Stops may be applied to only one manual
or the pedals independently. There is usually a crescendo pedal which
adds stops up to full organ.
"Usually?" This sounds exactly like something a non-organist, or an
organist of every limited experience, would say. A large number of
instruments lack swell boxes and electronic assistance like pistons
and toe studs and the like.
Yes, in my experience organs usually do have a crescendo pedal. No?
As I said, they only sometimes have swell boxes. Am not sure what
you are finding fault with.
You may indicate different dynamic
marking for each staff. Organs are closer to the nuances possible
with an orchestra.
I don't know any organists who would agree with this. It's a red
herring of the late 19th century. An exception, of course, would be
the Wurlitzer theater organ of the early 20th century. To hear what's
possible there, I'd recommend this program:
http://pipedreams.publicradio.org/listings/2010/1014/
I do not know of any other solo instrument which compares in colors
available
or the control which is possible with a pipe organ. (not including
digital keyboards of course)
Do you?
The organist will be very creative in using the
manuals and stops to get as close to your expression markings as he
or she can on any instrument, or chose not to. The serendipity is
often a pleasant surprise. On simpler, or older instruments, there
may be much less control so the only a general form may be obtained.
Why didn't you just leave out all the polemics and veiled insults and
post just this last passage? It's quite correct, and lacking details,
doesn't make any actual factual mistakes.
--
David W. Fenton http://dfenton.com
David Fenton Associates http://dfenton.com/DFA/
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timothy.key.price
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