TubeNet

I don’t know this edition, and the title doers not refer to any Telemann piece I can come by. Any notes on from where the movements were taken?

Klaus

Just make it sound good! Make the two movements contrast, and don't overthink things. Don't get caught up in the "I have to play this piece as a carbon copy of how it was originally written" game. Music is a living art. The ideas the composer writes on the page are a good starting point, but it's up to the musician to bring them to life. If everyone played every piece of music exactly as the composer intended every time, we wouldn't need new musicians.

Put a piece of yourself into it, and just make some music! Have fun, and good luck!

Tubaguyry wrote:Just make it sound good! Make the two movements contrast, and don't overthink things. Don't get caught up in the "I have to play this piece as a carbon copy of how it was originally written" game. Music is a living art. The ideas the composer writes on the page are a good starting point, but it's up to the musician to bring them to life. If everyone played every piece of music exactly as the composer intended every time, we wouldn't need new musicians.

Put a piece of yourself into it, and just make some music! Have fun, and good luck!

Knowing as much as possible about what the composer intended can do nothing but enhance a performance. One difference between a professional musician (which I've never been) and an amateur is that the professional makes the living art after having done all the homework (both on issues of technique and interpretation) possible.

.

It is true that a lot of baroque and older music, even rather slow music, basically is dance music. I have on recorders taught quite a bit of this music years back, and I have been rather familiar with these dances. If one has worked with this music the tempo comes more or less from the music itself. One will feel whether the dancers will loose their balance if the tempo is too slow or trip if the tempo is too fast.

I very often will be able to determine the tempo just from viewing though the music and sing it. Only I haven’t seen this music.

The OP more or less was confused by contradictions in notation and tempo indications. To this must be said that many editors of brass versions of baroque music not necessarily have any knowledge about that old music.

In a radio transmission within the last year Mr. Pokorny and Mr. Martin played a movement originally written by Bach for two violins. In my ears the tempo was right. I see two potential reasons for that. One obvious reason may be with the pianist, as these accompanists often are very knowledgeable on a whole lot of styles. Another reason may be with the arrangement itself. It was by the late Tommy Johnson. I don’t remember the name of his late wife, but she was a professional violinist with knowledge about Bach’s violin music. I wouldn’t rule out some family interaction in the arranging process.

Klaus

.