excerpt from 'Touring Japan with Florestan, October 2000' pp. 93 (248 words)

excerpt from 'Touring Japan with Florestan, October 2000' pp. 93 (248 words)

part of

Touring Japan with Florestan, October 2000

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urn:iso:std:iso:639:ed-3:eng

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93

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text excerpt

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Our concert is in Toppan Hall, a brand-new hall opened earlier this month. It's beautifully built with many details of design and workmanship one would not find in Britain... As I described on an earlier occasion, the rehearsal before this important concert is full of remarks that any outsider would construe as negative. This bit has been too slow, this slowing-down has got out of hand, the tension is missing here, that lead is hard to follow, the bowing is uncoordinated, this bit is always out of tune, the feeling is wrong. None of these remarks are personal or intended to hurt, but are expressed as concerns for the way the music comes across, so in that sense they are not destabilising. There's a section in the slow movement of the Schumann F major trio (the transition to Lebhaft) which is suddenly declared to be 'not working', and we rehearse it for a while, trying louder bass trill in the piano, different timing, different momentum, a different person leading, and a new impetus on the first chord of the 'Lebhaft' section. All this leads me to say that if we are going to make conceptual changes to our Schumann trios, we shall have to hand back the Gramophone Award, as our Schumann recording no longer represents what we believe. Some jocular debate follows about the publicity that would be generated by our handing back an award on the grounds that we had changed our view of the music.

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excerpt from 'Touring Japan with Florestan, October 2000' pp. 93 (248 words)

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