×

Hinweis

Ich akzeptiere, dass diese Website Cookies verwendet. Achtung: Klicken Sie auf "Ablehnen", können Sie den Online-Shop nicht nutzen bzw. die Seite wird in einzelnen Bereich nicht mehr richtig dargestellt!

Infos zu Cookies und Datenschutz

In einer früheren Sitzung haben Sie die Speicherung von Cookies abgelehnt. Diese Entscheidung kann rückgängig gemacht werden.

VR25

Unable to embed Rapid1Pixelout audio player. Please double check that:  1)You have the latest version of Adobe Flash Player.  2)This web page does not have any fatal Javascript errors.  3)The audio-player.js file of Rapid1Pixelout has been included.

Zurück zur Übersicht

Aufnahmedatum: 1949 May
Dauer: 3:55
Beschreibung: On perfection in the performance of music. Commentator, Thomas Freeburn Smith, also speaks. In English.
Signatur: 48/R7 (3:55); 104/R7 (3:42) (2x)
Publikationen: keine

Transkription:

THOMAS FREEBU
RN SMITH: You have just heard a performance of Arnold Schoenberg's String trio played by Adolf Koldofsky, Zoltan Kurthy, and Jascha Schwarzmann.
And now, as a feature of this first contemporary music broadcast by KFWB, we present to you the composer of the work, Mr. Arnold Schoenberg.
SCHOENBERG: A true musician, reading the score during the performance of one of my later works, went to the artists' room and showed the players many errors, faults, and other shortcomings he had observed in their rendition. He was given the very strange answer: "Maybe, but nobody noticed that!"
Strange indeed! Strange at first the morale, which compares very well to a viewpoint excusing a crime if it cannot be proven. But strange also the logic to make such a contention when facing a man who has noticed those "differences." It seems, these players expected nobody would notice differences, which probably they themselves did not notice.
I am the last one to blame the failure of a work of mine on the more or less important shortcomings of a performance. Though they are not entirely uninfluential, especially if they spoil character and mood by false tempo, dynamics, and expression. Imperfection can spoil much more than perfection can create. I know the obstacle to comprehension lies even more on my musical thoughts than on their presentation, and on my musical language. I know that little niceties repeated over and over without, or with little variation or development are easier to grasp and provide better for temporary success than a language which insists on brevity and accordingly would not repeat without exhibiting the new form of an idea, the new form resulting from the destiny of an idea.
I am acquainted with the preference of many concert goers for easily digestible entertainment. But one should never forget that there is popular music--operettas, shows, and movies--for people who want to be entertained; and that producers of those entertainments are not measured and criticized according to the viewpoints of the initiated, who desire to be elated, "even if it hurts."
The artists who performed the Trio this time do not need the excuse that "nobody noticed it," because they studied it for an audience which consists exclusively of people who "notice it."

Zurück zur Übersicht