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It sounds like something Miss Chalifoux might have said, no? Or would her version have been saltier?
Here’s one:
You can lead a horse to water, but that doesn’t mean he can play the harp.
And paraphrasing something heard
Some of it will never be comfortable because of his chord spacings: third, fifth, second for example. Some of the rhythms and tempi are unclear. It is not an easy style of music to play very well. It seems light, but that is only the surface.
I have consulted with a French musician, and she has advised me that animez does not exactly mean accelerando, but to become more alive, animated from within, more spirited, which could manifest in more than one way, a crescendo or accelerando or both, or simply more vigor and feeling.
I wanted to mention that Lucile Lawrence had the same quote from Ravel regarding the Sonatine, and what’s more, she was there at the time, I believe, or another time, and played the Introduction and Allegro for him. She had several letters from him that were in the house at Camden. What has become of them, I don’t know yet. I hope they have made their way to the archives at BYU.
I have consulted with a French musician, and she has advised me that animez does not exactly mean accelerando, but to become more alive, animated from within, more spirited, which could manifest in more than one way, a crescendo or accelerando or both, or simply more vigor and feeling.
I wanted to mention that Lucile Lawrence had the same quote from Ravel regarding the Sonatine, and what’s more, she was there at the time, I believe, or another time, and played the Introduction and Allegro for him. She had several letters from him that were in the house at Camden. What has become of them, I don’t know yet. I hope they have made their way to the archives at BYU.
I have consulted with a French musician, and she has advised me that animez does not exactly mean accelerando, but to become more alive, animated from within, more spirited, which could manifest in more than one way, a crescendo or accelerando or both, or simply more vigor and feeling.
I wanted to mention that Lucile Lawrence had the same quote from Ravel regarding the Sonatine, and what’s more, she was there at the time, I believe, or another time, and played the Introduction and Allegro for him. She had several letters from him that were in the house at Camden. What has become of them, I don’t know yet. I hope they have made their way to the archives at BYU.
Here’s a new twist. It’s getting harder to spot the errors. Perhaps I should just quote a price of $5,000,000 for lessons.
Hello Saul,I meant to point out that there is, in my experience, always a tremendous balance problem at the conclusion, and that after the harp plays those majestic chords, it suddenly disappears as the strings swell and drown out those fingered arpeggios. Only the glissandi can maintain sail amid those swelling seas of strings. The fingered arpeggios, especially as written, fail to activate the resonance of the harp fully. It can be helped by using flat enharmonics, but it is still unsatisfying as a climax. I could describe this in terms of e.d., but I won’t.
I meant to point out that there is, in my experience, always a tremendous balance problem at the conclusion, and that after the harp plays those majestic chords, it suddenly disappears as the strings swell and drown out those fingered arpeggios. Only the glissandi can maintain sail amid those swelling seas of strings. The fingered arpeggios, especially as written, fail to activate the resonance of the harp fully. It can be helped by using flat enharmonics, but it is still unsatisfying as a climax. I could describe this in terms of e.d., but I won’t.
I meant to point out that there is, in my experience, always a tremendous balance problem at the conclusion, and that after the harp plays those majestic chords, it suddenly disappears as the strings swell and drown out those fingered arpeggios. Only the glissandi can maintain sail amid those swelling seas of strings. The fingered arpeggios, especially as written, fail to activate the resonance of the harp fully. It can be helped by using flat enharmonics, but it is still unsatisfying as a climax. I could describe this in terms of e.d., but I won’t.
You are making assumptions that cannot be substantiated and so do not support your argument. What is most obvious is that Debussy availed himself readily of glissandi, and could not when writing for a chromatic harp. Maybe you have watched too many tv commercials to come up with such an association.
You are making assumptions that cannot be substantiated and so do not support your argument. What is most obvious is that Debussy availed himself readily of glissandi, and could not when writing for a chromatic harp. Maybe you have watched too many tv commercials to come up with such an association.
You are making assumptions that cannot be substantiated and so do not support your argument. What is most obvious is that Debussy availed himself readily of glissandi, and could not when writing for a chromatic harp. Maybe you have watched too many tv commercials to come up with such an association.
