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On 24/10/2011 4:43 PM, Mitch Ohriner wrote:
<blockquote
cite="mid:CADrA96yZ2ObeKYUZ5LYcoakHi+-tBvkarwsuiBd7hd5jWN6+3g@mail.gmail.com"
type="cite"><br>
<br>
Tapping or conducting along with a performance of the G-minor
Ballade can be very difficult at the beginning and is usually much
easier after m. 9.<br>
</blockquote>
<br>
That depends on the performance, no? Or are you saying that the
notated music implies a certain kind of performance,<br>
in which case, again, the question would be, what (notational)
features imply such a performance, where the toe-tappers<br>
would be disappointed?<br>
<br>
<blockquote
cite="mid:CADrA96yZ2ObeKYUZ5LYcoakHi+-tBvkarwsuiBd7hd5jWN6+3g@mail.gmail.com"
type="cite">
<br>
This is the feature that makes the opening of the Ballade seem
improvisatory to me. To say that the opening is improvisatory is
of course fictive. </blockquote>
<br>
Ok. I don't find the word "improvisatory" very helpful, either.
Improvised music isn't supposed to sound<br>
improvised. "Improvisatory" might then point to a defect in the
music, "fingers idly wandering over the keys," <br>
music doesn't go anywhere. Second, what these old guys may have
considered to be improvisation is either<br>
represented in their music or we don't know what it is. Is <span
class="st"><em style="">Träumerei </em></span>improvisatory? By
accounts, it seems<br>
it was so intended, but it's doubtful anyone now hears it this way.
Perhaps the idea in the opening of the <br>
Ballade is to evoke a kind of emptiness and doubt -- if one can ever
get the historical semiotics of this right --<br>
a trope of the hapless artist awaiting the inspired moment. There
may have been that kind of self-reflection in Schumann,<br>
but in Chopin?<br>
<br>
-- eliot<br>
----<br>
Eliot Handelman<br>
CIRMMT<br>
<br>
<br>
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