Why do professional performers blatantly ignore the composer's markings?

[peterw712]

For example, I am playing Beethoven op 110 and many performers will con pedale the third movement when only sparse pedaling is indicated. And I have the urtext edition.

[iansinclair]

because some of them, at least, feel that, in their artistic judgement, believe it better expresses the music and the intent.  A point of view which is rather hard to argue with, as music is, if anything, a live performing art where both the composer and the artist must come together to produce the performance.

I might point out that there are some performers who are absolute fanatics about following the composer's markings to the last dot.  They have their place too; it's a matter of taste, and in my view, at least, there is a place for both.

Same sort of thing happens in other instrumental music and choral music as well, of course.

I might also point out, however, that -- in general -- it is better when beginning to work on a piece to see what, as exactly as possible, the composer had in mind.  Then later, depending on your own ability, taste, and skill you can modify that.

[rachmaninoff_forever]

Everything iansinclair said...

If you're in a competition, you better play EXACTLY according to the score!!!  If it's just a normal recital, then do whatever you want.  Well, not whatever you want, but you get the point.  

It also depends on the composer.  For instance, Beethoven was really anal about his markings.  It's his way or the highway.  Unless you're Barenboim or something.  They can get away with it.  Don't ask me how or why, they just do.  But if it's Chopin or Ravel, then I mean...  You can... You know...  You know?  Give it a little somethin somethin, you know what I mean?  

A little somethin somethin.  

It depends.

[Bob]

The ones I've seen are very concerned about what the  composer meant and what's in the score.

Pedalling doesn't count though.  It varies on instruments, rooms, etc.  The performer would do what they think the composer meant, what the standards are, what sounds best to them for that piano in that room, etc.  Like pedaling on Bach.  Or even using a modern piano for Bach.

[j_menz]

On the Beethoven, just because he didn't write all the pedaling in doesn't mean he didn't think you should pedal as your taste dictates. Composers mostly assume that a performer will have some discretion. Those that don't allow that (mostly much later) are simply wrong. Instruments vary, rooms vary - so absolute tempi, pedaling and so forth can't be set in stone, they have to adapt to the circumstances.

[rachmaninoff_forever]

On the Beethoven, just because he didn't write all the pedaling in doesn't mean he didn't think you should pedal as your taste dictates. Composers mostly assume that a performer will have some discretion. Those that don't allow that (mostly much later) are simply wrong. Instruments vary, rooms vary - so absolute tempi, pedaling and so forth can't be set in stone, they have to adapt to the circumstances.

Also his piano only had 76 keys, so whenever I get the opportunity, I like to drop the bass!

[karenvcruz]

I believe that for some concert pianists, it is more of interpretation and their own "artistic rendition" of the piece. Given today's youtube exposure, I've read that concert pianists listen and watch how others have played it in the past, and after hearing all of these, they decide to make their own interpretations that would help them make them different and stand apart from others.

[bronnestam]

The pianos in the days of Beethoven were not exactly the same as the pianos of today. So. Besides, I think Mr. Beethoven would be the first to support artists who dared to add something of their own when performing someone else's compositions ... just like he did! After all, if we were supposed to follow the directions in the notes in every tiny little detail, we could just as well let computers do the playing. And we all know how bad and lifeless such a rendering is - why is it better when a live musician play? Because she adds "imperfections", and that is what makes the music come to life, that is what makes is MUSIC.

I like playing Debussy, because I feel very free when I take on his music. I do whatever I like with it. But I also like Beethoven very much ...

[thesixthsensemusic]

Pedal markings in Beethoven's works are indicated whenever they are a niecessity. Feel free to use them outside these necessary spots too, all in good taste of course.

Composers AFAIK tend to write down what they want you to do, not what they NOT want you to do (even though sometimes they do that too, often in tempo markings).

[g_s_223]

Well he was stone deaf then, so some adjustment is natural.

[ajspiano]

Besides, I think Mr. Beethoven would be the first to support artists who dared to add something of their own when performing someone else's compositions ... just like he did! After all, if we were supposed to follow the directions in the notes in every tiny little detail, we could just as well let computers do the playing.

Within reason, I think you'll find that Ludwig was actually more of a my way or the highway kind of guy when it came to others performing his works. Though that may have been most significant;y noted where he gave someone personal instruction.

[quantum]

+1 to what Ian said.

Experienced performers have most likely garnered the tools and insight on moving beyond playing what the score is printed.  Sure anyone can just do willy-nilly what they want, but it won't necessarily sound like it belongs as part of the music.  Such performers have acquired skills to be attentive to the composers unwritten intentions as well as a hyper-awareness of the sound-in-the-moment as they reproduce the music.  They are constructing the music from many sources and constantly evaluating its efficacy in-the-moment. 

IMO, unlike some of the other fine arts, music in its creative processes does not exist in clearly delineated codified statues.  Any given piece of music while documented through score or sound recording, is open to multiple interpretations.  There is no singular ultimate or perfected reality of any given piece.  There are however options, choices, and decisions - all of these a welcome field of creativity to select from. 

[okanaganmusician]

Wish Glenn Gould was still around to have this conversation with!

His "interpretation" of the popular C-major prelude by Bach still sticks in my mind.  Nobody else would have been able to get away with that!