From: Fadosolrélamisi <rei...@telus.net>
Date: Mon, 12 Nov 2012 09:14:31 -0800 (PST)
Local: Mon, Nov 12 2012 12:14 pm
Subject: Re: The Uses of Rubato in Music, Eighteenth to Twentieth Centuries
On Sunday, November 11, 2012 5:06:44 PM UTC-8, JPD wrote:"A pianistic practice prominent at the turn of the century, playing the melody
> The Uses of Rubato in Music, Eighteenth to Twentieth Centuries
> Sandra P. Rosenblum
> She talks about agogic and contrametric rubato, from Luis Milan to
note slightly after the accompaniment—especially on the downbeat
("splitting the hands"), may represent a degeneration of the true
contrametric separation of melody and accompaniment.
Arpeggiating or breaking chords, another mannerism of late romantic pianism heard in early piano rolls and recordings, was often used in "affective" performance in the belief that it made the sound fuller and more sensuous."
Segovia's strong tendency to use agogic rubato (Segoviagogic ...) is totally understandable in light of this exposé. I don't think he ever pay back for all the stolen time except for now ... where the critics of today, lacking the historical context of his style well explain in this article, vilify his use of a rubato style that was still in use during his formative days, which mean (thank the gods) that he would have bean subject to it's influence ...
A good example of rubato (implying stolen time and restitution) in guitar literature (I think) can be found in the HVL Choro # 1 passage, at the end of the third section (the one with the E major first inversion septolet arppegio preceded by two big eye brows fermata).
Long week-end! a Reading this article, coffee in hand, was a perfect way to start the day! Thanks for posting it.
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