Now mind you, I’m not saying that there’s anything wrong with Svedlund’s performance. All music is open to interpretation, and unless it is insensitive, there’s nothing wrong with a straightforward reading of the score, particularly in this early stage of Weinberg’s career when his angst was not so keenly felt. What Gražinytė-Tyla does is to “preview” the growing sadness in his music through her interpretation. Or maybe it’s just a matter of Rudolph codifying already-existing forms used by jazz musicians in a new and, to me at least, more complex manner. The purpose of this book is to inspire both instrumentalists and composers to look at musical elements in new ways.
- Yet it is Nocturne No. 7 which sounds the most like one of his Cartas Celestas with its rumbling arpeggios and asymmetric, impressionistic melody line.
- Schools and universities use the music/art connection to enhance student learning.
- Although Crumb was