.........At the same time I wish to eradicate once and forever the dry, mechanical playing
which is still practiced in some places. I also observe that the tempo should be performed with more measure and
flexibility and that more intelligence should be exercised in the effects of coloring/tonal, of rhythm and expression.
It is not because a composition is strickly beaten and mechanically played with more or less correctness that a composer is
going to be satisfied and will recognize the performance as a faithful interpretation of his thoughts. I can only recognize a performance as being satifactory if the structure of the music
is recreated through the execution of certain accents and delineation of melodic
and rhythmic nuances. The essence of a fine symphonic performance is basically found in a comprehension of the work/what conducting is, knowing the music
performed. The conductor must possess this comprehension and communicate it to his players. This involves the dividing
and accentuating of periods, of making contrasts, carefully shading the transitions and establishing the balance between the different
instruments, either singly or in groups. At times it is necessary ony to mark the notes, but again it is necessary to phrase, to sing or even to declaim.
Although I try to clarify my intentions through explicit markings, I am fully aware of the fact that certain things, sometimes, the most obvious, cannot be
set down on paper/musical judgement. These things can only be achieved with finality through the artistic capabilities, the sympathetic and inspired recreation by
conductor as well as performer/a joint effort. It is the responsibility of the conductor to indicate to each member of the orchestra
the significance of his part in the orchestra. Conductor and instrumentalists alike must be talented enough to discover the secrets of my music.
The sympathy/first must have an understanding they are willing to give my works will prove to be the best guarantee of success in their performance........Franz Liszt - On the performance of his tone poems Out of the translation from the French by Sylvio La Charite and out of German by Franz Bibo
insert words from Sheila's class notes
Symphonic Poems for Orchestra
Ce qu'on entend sur la montagne(What You Hear on the Mountaintop), symphonic poem for orchestra
Tasso: Lamento e Trionfo, symphonic poem for orchestra
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.........At the same time I wish to eradicate once and forever the dry, mechanical playing
which is still practiced in some places. I also observe that the tempo should be performed with more measure and
flexibility and that more intelligence should be exercised in the effects of coloring/tonal, of rhythm and expression.
Symphonic Poems for Orchestra
