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Last week I had the enormous pleasure of performing Mozart's "great" G minor symphony K. 550. In preparing, rehearsing and performing this work the question of tempo was almost more pressing than elsewhere - in music from the Classical period in general a ...
Total conviction often rests upon ignorance. Superior knowledge often is insecure.
One does not become a genius by copying a genius. One does not become an eccentric by copying an eccentric. (Perhaps it is a main characteristic of geniusses and eccentrics not to copy anyone.) On the other hand: Simply not to copy anyone does not yet make one a genius.
An attempt at zeroing in on the unanswered question: To experience together – to feel – to explore – to listen – to breathe – to live – to think
Same direction without levelling
On the emotional plain: to experience joy – to make the unbearable bearable – katharsis
"no doubt pleasant are the teares which Musicke weepes." (John Dowland)
The question remains: Why can positive emotions be experienced immeadietly in music, but negative emotions are changed?
Today, performances of classical works become more and more beautiful.
While beauty as such is, of course, something very positive, it becomes, in my eyes, very dangerous indeed if it becomes the sole object and goal of a musical performance.