Dear Vladimir, potentially, your perpetual and unprofessional use of "song" instead of "piece" by itself could negate any validity of your ideas, so you might want to consider revising it...
That has nothing to do with anything and anyone who uses that to reduce the validity of his ideas is just a snob
This is the 3rd or 4th thread on this topic? Give it up. If you want to continue blathering on about this 100 bpm Träumerei nonsense, keep it in your original thread.
Consider that English does not appear to be the first language of the OP. I tend to be less critical of specific word usage - few of us can converse in Russian or whatever it is.
Nah, it is not about English--it is more about attitude--after all Vladimir knows English well enough to claim that [Horowitz] performance 'so terrible and stupid', or nonsenses like "Nadezda Golubovskaya (she shared the First Prize with Sergei Rachmaninov at graduation)"--it is worth noticing that Rachmaninov graduated in 1891 and Nadezhda Golubovskaya was born... in 1891.In any case, I edited my message, suggesting to pay attention to the "song" thing...
Thank you very much for an important correction. I just believed the stories of Golubovskaya's pupils but had never checked them self.
In fact, she shared the Prize not with Sergei Rachmaninov but with Sergei Prokofiev (I got it from Wiki "на выпускном экзамене Голубовская была главной соперницей Сергея Прокофьева за высшую награду выпускнику").
However, regarding "so terrible and stupid" - these words are not mine, as you know. It is usual reactions of all "guinea pigs" just on Tempo. Don't I have the right to quote them? Do the same test on UNBIASED audience and THEN refute and deny my results, but not BEFORE the test. "I did not play, but I condemn" - this is a ridiculous position.
I am absolutely serious.
That's quite strange, as besides quite obvious age differences it is a well known fact that Rachmaninov graduated from Moscow Conservatory, while Golubovskaya from St. Petersburg one...No, from the text in Russian (as far as I could understand it) we know that she was the main contender for that Prize. From that text it is unclear whether she shared it, or received, at all.I do not know your "guinea pigs". The fact itself they reacted just on Tempo itself without music content of the performance (something any more or less knowledgeable, or fairly educated audience would NEVER do) already suggests that there is something wrong with your test. It is even more strange that you claim that you studied in such respectable institution as Moscow Conservatory and then can be serious about that kind of test.In any case, it is just enough for me to have my own opinion. As I stated, one can play any Tempo, as long as music, phrasing, sensitivity, mood, and just musical meaning are there. IOW, I do not (and never) argued that Traumerei can be played at 100bpm, it is just that music sample you posted did not convince me. Sorry, it did not strike me like after listening to it I would be inclined to call Horowitz' performance 'so terrible and stupid'. Why after that would I seek for yet another opinion of some 'guinea pigs'?But probably your audience knows better, so indeed, you could find my position ridiculous--that's your right.Best, M
I was at this Forum 10 years ago and lost interest because "all the talks about the Music are worth no more than well described dinner" (Liszt) In Russian: "Все разговоры о музыке вместе взятые стоят одного хорошо рассказанного обеда" . If you can - translate better, please.
If I played Traumerei -"100" at Conservatory or at hostel, I am sure that no less than 10-20 pianists tried to do it better than I did immediately - normal reaction on challenge.
Here I feel a typical reaction of very, very old people (the soul is old even if you are 16.) Do you learn to swim? - This is very unhealthy and dangerous. Do you learn to drive bicycle? - Nobody needs it. Taxi is much better , etc. No spirit of sportive challenge and desire of exploration.Only talking, talking, talking. A bit boring.