This semester I'm teaching a graduate seminar on the relationship between analysis and performance. One of the first articles we read is William Rothstein's "Analysis and the act of performance," (in The practice of performance, John Rink, ed. Cambridge U. Press, 1995). The article begins with an epigraph taken from Schenker: "Every true work of art has but one true performance, its own particular to it..."
In stark contrast to that quotation, the Lubbock Symphony is playing a concert that includes a handful of Strauss family waltzes, polkas, etc. (among other things). Offenbach's music for Orpheus in the Underworld is also on the program. So far we've done three youth concerts in addition to the rehearsals, and we have two concerts this weekend (Friday and Saturday, 8:00 p.m. at the Civic Center). I don't think we've played one of these pieces the same way twice, as per the conductor's wishes.
I've been wrestling with these multiple interpretations. It seems to me that when I learn/study/perform/analyze a piece, I arrive at one interpretation and that's the one I stick to (if for no other reason than it facilitates practicing, communicating, etc.). I don't mind if someone has an interpretation that differs from mine--I suspect they arrived at their conclusion using different means. And I wouldn't go so far as to say my interpretation is "the one." I may revisit a piece in a year, or five years, or ten years, and understand it differently, but my theory brain and my performing brain have been working overtime on this one. I can't imagine saying to my pianist, "Well, in the concert I might slow down here. And I might slow down a little or quite a bit. But I might not. Or I might speed up. We'll see." Sounds like a recipe for disaster if more than one person is involved...
Thoughts?
In stark contrast to that quotation, the Lubbock Symphony is playing a concert that includes a handful of Strauss family waltzes, polkas, etc. (among other things). Offenbach's music for Orpheus in the Underworld is also on the program. So far we've done three youth concerts in addition to the rehearsals, and we have two concerts this weekend (Friday and Saturday, 8:00 p.m. at the Civic Center). I don't think we've played one of these pieces the same way twice, as per the conductor's wishes.
I've been wrestling with these multiple interpretations. It seems to me that when I learn/study/perform/analyze a piece, I arrive at one interpretation and that's the one I stick to (if for no other reason than it facilitates practicing, communicating, etc.). I don't mind if someone has an interpretation that differs from mine--I suspect they arrived at their conclusion using different means. And I wouldn't go so far as to say my interpretation is "the one." I may revisit a piece in a year, or five years, or ten years, and understand it differently, but my theory brain and my performing brain have been working overtime on this one. I can't imagine saying to my pianist, "Well, in the concert I might slow down here. And I might slow down a little or quite a bit. But I might not. Or I might speed up. We'll see." Sounds like a recipe for disaster if more than one person is involved...
Thoughts?