This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Hi Rich, Alas, I know very much about a few things and a little bit about many = other things. I'm afraid music history comes under the latter category, = besides which, Liszt isn't really my cup of tea. ;-) As for being "IN" the Chesapeake... Well, I admit I didn't think out = the negative connotations to that comment. <wink> I'm happy to report = that I didn't go for any swims along the way, although I did get soaked = a couple of times (one storm going and one returning -- with a gorgeous = pair of near-simultaneous lightning strikes not far off our starboard = and port -- don't know why the tall aluminum mast in the middle was = spared a few bizillion Joules). Fortunately I had just equipped the = boat with a GPS guided navigation computer that worked beautifully -- = much better than the new engine that overheated when all our wind died. = In addition to the new GPS, new computer and new engine, there was also = of course the new sailor -- me. I was grateful that two of the other = three crew members knew their sailing well. Quite an experience! I can = see how this stuff gets into people's blood. =20 I count the hot shower I just took as one of the 10 best I've ever had. = :-) Peace, Sarah Back Home PS I hope sailing isn't too off-topic for this liszt. ----- Original Message -----=20 From: Classic Touch Ent=20 To: Pianotech=20 Sent: Tuesday, May 27, 2003 11:17 PM Subject: Re:Envelope pushers(jazzers)/Liszt(was Ahmad Jamal) Hi Sarah! On Tuesday, May 27, 2003, at 01:22 AM, Sarah Fox wrote: Hi again, Rich, =20 Just a quick note before I disappear for a couple of days. (I'll be = out sailing :-) Do you mean in the composer, improviser or performer sense or all = three? Are we talking composition, technique, 'sound' sculpture, = voicing? all of them?The answers (observations, extrapolations, wags) = could probably fill a book or two, hotly debated by all. Perhaps I'm = misunderstanding the focus of the question, but it just seems there are = so many variables many of which point in the 'which comes first, the = chicken or the egg?' direction. =20 I suppose I mean "all three" Liszts. I'm thinking particularly of = the limitations Liszt experienced from the slower repetition rates of = earlier actions. I understand he hungered for a faster, more nimble = action, and he considered the modern repetition arm a godsend. It = opened up many more possibilities to him both in composition and = performance. Hi Sarah, AH! In the case of Liszt/pianos/rep.rates I'd debate this. I don't = know specifically what you mean by 'modern repetition arm', but = considering the end of his concert career (~1850) my recollection is = that he played nothing like a modern grand action. The Erards of his day = were 'quicker' than our 'modern' grand action. I think the modern grand = is in large part due to market conditions (promoters demand bigger halls = with more seats to accommodate more( paying) folks anxious to hear/see = the masters/ requiring instruments with much bigger volume/ much more = percussive potential than the fortepiano). However, once the modern = grand is created we see composers and performers exploiting its = percussive potential. Don't know whether that's because of fortepiano = limitation or palette/style preference. By following the Liszt, A. Rubinstein, Josef Hofmann legacy we arrive = at proteges (such as William Harms and Shura Cherkasky) carrying on in = the 'bel canto' style of performing. They were focused (just my = opinion/perception) on exploiting both ends of the dynamic range of the = instrument with a self imposed limitation at the gate of percussiveness. My take on Liszt aside, my original questions [re: Do you mean in the = composer, improviser or performer sense or all three? Are we talking composition, technique, 'sound' sculpture, voicing? all = of them?] were intended to focus on envelope pushing in general = (composition and performance) and its relation to limitation in whatever = form it takes (is the limitation from within or without). What they are able to write/perform depends very much on the = technology beneath their fingertips.=20 I'm sure that this is true much of the time, but some composers (this should have said composers/performers) seem to conjure sounds, and textures, articulations, voicings, = temperaments without regard to whether or not the instruments, = technology, or performers are capable of producing it. Sort of 'I have = this idea ( by the way the system for notating this hasn't been created = yet) and I'll describe it as best I can: can you figure out a way to = make it happen?' =20 Ah, but in the end, the composer must make the music accommodate the = technical limitations of the instrumentation, whatever they may be. I = don't think I've ever heard of a composer composing for an instrument = yet to be created, although it almost wouldn't surprise me -- and I'd = almost understand. The weirdest thing I ever did was to write a piece = that incorporated a bobbling hammer. Of course it could only be played = on *that* piano! Perhaps this is a matter of semantics mostly born of my decision to = make a reply at 1:30 AM when I should have gone to bed. Best, Rich Olmsted (sans vichyssoise d'alphabet)=20 PS. 'IN' the Chesapeake ?!?!? If it was someone else I would assume a = typo...so I'm asking. Well, gotta go! I have a very long day tomorrow, and we'll be up = early to catch the tide. =20 Peace, Sarah Diane Fox, Ph.D., NPT, NPR, NRP, ABCDEFG Soon to be in the Chesapeake=20 =20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/af/e9/b5/05/attachment.htm ---------------------- multipart/alternative attachment--
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