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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.
Also, mark the floor with tape or white pencil where the harp’s feet and chair’s feet are positioned, and if you keep them on rubber mats, they will swivel out of position less.
I find I am able to teach a piece I don’t know, but at some point I do need to go through it, for one thing, to get the notes in my head so I can correct wrong notes and other reading errors. I prefer to teach pieces I know extremely well, fortunately, I know quite a lot, so there is a lot to choose from. I think it is important for a student to bring in a piece once in a while that they have found and prepared on their own, when studying seriously. How to prepare new pieces is something that needs to be taught.
It was not forced. Please restrain your word choices. Salzedo often had four years or less to train a student who would then get a professional orchestral position, and have to have the Danses in their repertoire. If they had not been playing long, then having the simplified version made it accessible to them as well as to students. If you are playing in the kind of tempo Debussy indicated, with an accelerando in that passage, as he indicates, the notes by themselves are a scramble and sound so in many performances. Salzedo prized clarity and speed, a very French characteristic, and so, his version has its justifications. I have no problem with explaining or discussing Salzedo’s work, but I am tired of the hostile tone you keep reverting to.
