Stephan, I like that thought. I've noticed too.
Pieces change too. A mood is created from the piece before it; a direction emerges from the piece that follows and it always changes from the many circumstances and insights that surround a certain moment's performance. I've been working up a solo concert from the period you describe and the many voices that make up each composition need their character. In an ensemble you can count on each person bringing their voice and character; with intabulations one tries to imagine them as individuals w/ their own string and character. Alas, in dense music they often blur but there are times when they can speak to each other warmly and all is well. Will they speak to each other during the performance? How will they differ from one night to the next? Indeed, who can predict? all the best, Sean At 04:24 PM 1/10/04, you wrote: >Dear all, > >I just returned from a really nice concert we played with our >madrigal ensemble (we had another one on Thursday), which >featured mid to late 16th century vocal polyphony as well as >some songs and a ballad tune and their divisions by Bassano, >Rognoni, van Eyck and the likes (played by recorder and >organ/lute). Well, I have to say there are few joys (maybe >only one) comparable to playing chamber music! What amazes me >most is that you can work on the interpretation and the >technique as long as you wish in the rehearsals, but the >atmosphere and interactive creativity in concert is fresh and >new every time! > >Regards, > >Stephan --
