Ravel, A la maniere de... Borodin

Rachfan · **Posted:** Sun Apr 03, 2011 1:55 am

Hi Monica,

Thanks for putting up the two Ravel pieces. They display on the Composer's page OK, but do not appear on the Artist's page. Is that a link problem?

David

pianolady · **Joined:** Wed Jun 14, 2006 12:38 pm **Posts:** 8019

Sorry, David, I forgot one thing. It's fixed now.

Rachfan · **Posted:** Sun Apr 03, 2011 3:47 pm

Thanks, Monica. I appreciate it.

David

musicusblau · **Posted:** Sat Apr 16, 2011 2:32 pm

Hi David,
that´s another very interesting and subtle performance. I think, the "great bows" (or "curves"?, german: großer Bogen, a metaphor for the right phrasing and breathing of the music) are absolutely in there as many subtle details of the sensation of the music. I have followed with score and enjoyed your rendition thoroughly!

Rachfan · **Posted:** Sun Apr 17, 2011 5:37 am

Hi Andreas,

Thanks for your comments on this Ravel piece. I often think of the "great bows" or phrases as the contour of a piece, so to play the long line, one has to have a sense for the contour, the textures within the contour, and the positioning of the melody within the textures embedded within the contour. And as you aptly point out, that's how the sensations of the music ultimately become apparent in the playing, as the "great bows" must figure importantly into the overall interpretation. I'm glad you enjoyed this short but irresistible piece.

David

musicusblau · **Posted:** Mon Apr 18, 2011 11:49 am

Rachfan wrote:

Quote:

I often think of the "great bows" or phrases as the contour of a piece, so to play the long line, one has to have a sense for the contour, the textures within the contour, and the positioning of the melody within the textures embedded within the contour.

Yes, as you aptly point out here, the "great bows" are the base for all the musical sensations in detail. There are other pianists, who are thinking more from the detail and often neglect the "great bows". It was my intention to underline here, that you seem to join the first group (especially in that piece), whos base are the "great bows". And that´s a wonderful feature of artistry!

Rachfan · **Posted:** Mon Apr 18, 2011 11:53 pm

Hi Andreas,

Absolutely! Like you, I definitely try to be a "great bow" musician. To me it makes far more sense to start with the big picture of a score, to understand the overall concept of the piece, its form, structure, contours, textures, and phrasing, and only then to work down to the various levels of detail within those larger domains. Doing the process in reverse, I believe, would result in a less coherent interpretation and less convincing performance.

David

musicusblau · **Posted:** Fri Apr 22, 2011 5:05 pm

Rachfan wrote:

Quote:

Doing the process in reverse, I believe, would result in a less coherent interpretation and less convincing performance.

Yes, I agree absolutely!

musical-md · **Posted:** Fri Apr 22, 2011 11:30 pm

Rachfan wrote:

Hi Andreas,

Absolutely! Like you, I definitely try to be a "great bow" musician. To me it makes far more sense to start with the big picture of a score, to understand the overall concept of the piece, its form, structure, contours, textures, and phrasing, and only then to work down to the various levels of detail within those larger domains. Doing the process in reverse, I believe, would result in a less coherent interpretation and less convincing performance.

David

I too agree, however, I would add that I have had occasions where I didn't discover the "forest" until I had spent some time examining the "trees."

Rachfan · **Posted:** Sat Apr 23, 2011 5:18 am

Hi Eddy,

Goes to show that there are nearly always exceptions to everything.

David

Ravel, A la maniere de... Borodin

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