His Mozart is Heavy

AbateFaria wrote:

After the first lesson of the year, my score reading teacher told me: "Your Mozart is thoughtful"... I take note.

Thoughtful or heavy?

I am an idiot, it's true Carlos... can something at least be done to modify the object? I'm asking....

One way is to listen to the great performers; I understand that the type of sound you are going to listen to is the result of many cofactors that largely depend on personal aspects related to the performer.

Consider that mimicking never does any good, but researching does. You will say... "what"? One's own correct way of approaching the composer, who lived in a time where the means were limited, even the orchestra was limited... so the result cannot be, at best, Beethoven... or even worse, Liszt

Topic title modified

AbateFaria wrote:

I am an idiot, it's true Carlos... can something at least be done to modify the object? I am asking...

Look, the only idiot is your sight-reading teacher, in my opinion. I remember that during sight-reading courses I would sometimes slam my hands down just to read and I certainly didn't have the time to sit there thinking too much about style. And I am a pianist. Some people would do better to leave their frustrations at home (I am talking about the teacher) and worry about teaching well what they are supposed to teach. Forget about it and concentrate on reading, trust me...

PS I understood that it was a typo and I underlined it more to signify a good "who cares" directed at your teacher rather than to make an observation to you...

In fact, it seemed excessively nitpicky to me; he is indeed very precise... but if I wanted to be a pianist, I wouldn't have enrolled in composition. With all due respect to other professions

Anyway, as I was saying, I take note and I will go there less often

ttw wrote:

One way is to listen to the great performers; I understand that the type of sound you will go on to hear is the result of many cofactors that largely depend on personal aspects related to the performer.

Consider that mimicking never does any good, but researching does. You might say... "what"? One's own correct way of approaching the composer, who lived in a time where the means were limited, even the orchestra was limited... so the result cannot be, at best, Beethoven... or even worse, Liszt

Thanks for the tips, the thing is I know these things... but if one doesn't have the right "hands"... one manages as one can; besides, my goal isn't to play, but to master a score across multiple staves

AbateFaria wrote:

score reading

What is it?

Lestofante wrote:

What is it?

A 19th-century teaching legacy still present in ministerial programs, which requires a candidate to perform a reduction of a symphony, exemplifying it by playing. It's a pity that having the limit of 10 fingers, when faced with a modern orchestral score, the candidate can only observe and listen... because half of the stuff is in the hands.

Practically a subject tailored for classical symphonism and at most Romantic (with many limitations)... and dedicated to composers and conductors... who, according to some, should derive "benefit" from it... well!

aaa wrote:

Practically a subject tailored for classical symphonism and at most romantic (with many limitations) ... and dedicated to composers and conductors... who, according to some, should derive "benefit" from it... well!

Perfect.

But isn't there also a vocal part in the reading?

Marta23 wrote:

But isn't there also a vocal part in the reading?

I don't remember in which of the exams, but perhaps at the mid-term completion one is required to read a transposed lied while accompanying... but I am not sure: perhaps I am confusing it with one of the piano tests (equally useless) for the conducting diploma.

There is always the vocal part. At the fourth, the motet; at the seventh, the aria antica; in the licenza, there would actually be a nineteenth-century aria. In the triennials, however, one can choose between opera or Lieder

Marta23 wrote:

But isn't there also a vocal part in the reading?

It is the proof that I find most accurate, even if in reality the singer and the pianist do not reside in the same person, and the singing of someone who is preparing a reading of the score will never be up to the level of the worst tenors (on duty).

Therefore, if it is a matter of intonation, theory and solfeggio would have been enough.....