What is the difference between composer and artist

Probably tempo variations were not so significant or were understood without explicit differentiation. One may name composers of modern times who have supplied their compositions with few and imprecise markings, but at the same time used very extensive means of expression in their performances.

It is necessary to point out significant differences between three varying systems of composer directions. In the first case, as we have seen in Bach, the author restricts himself to an insignificant number of tempo and dynamic directions.

He provides the performer with a maximum of freedom in interpreting the score. In the second case, performance markings are so closely related to the character of the music that they follow inevitably from the notes themselves.

The system of physical and technical devices suggested by the score often assumes a certain character of interpretation. The supremacy of the composer in interpretation, his will directing performance along a certain path, is most profoundly felt when the composer himself is a proficient performer.

Then all the qualities of his performing art unwittingly find a place in the notes of the score, in the specifics of the writing. The work itself implements in its musical images and compositional character the performance style and technical proficiency of the author-performer. The often stated thesis that if such composers as Liszt, Chopin, Rachmaninov, Medtner, and Prokofiev had left their scores without any performance directions at all, their compositions would have been interpreted exactly the same way, is quite sound.

A pianist would be wise to try to find the source of his interpretation solely in the notes when playing the works of genius composer-performers. Not only the presentation but also the only possible means of execution, even hand position on the keyboard, are suggested by the character of figurations; they point the interpreter in the right direction and tell the attentive and sensitive performer more than the most detailed directions.

The music itself bespeaks the heart and mind of the musician to a greater degree than do the additional directions. The third type of performance direction is the most valuable and necessary.

It complements essentially the metric-pitch coordinates of the text. Such are directions of piano and forte at the same note density in chords, identical registers or presentation.

In this category are sudden tempo changes at moments distinguished neither by new thematic content nor by varying treatment: the same music, interpreted by the author in different ways. Such absolutely necessary performance notations happen most often in the classical works, especially in Beethoven. These are mostly directions for unexpected tempo or dynamic changes, which form a third dimension of coordinates, complementing the metric-pitch row of written notes.

Are the tempo markings themselves, as well as occasional extensive tempo characterizations, not a kind of authorial pronouncement on the content and expressive means of the music itself?

Such tempo markings as tempetuoso, stretto, marcato, molto con fuoco serve more to characterize the content of the composition than to regulate tempo and dynamics. They are so figurative that in essence they allow the performer to choose the appropriate tempo himself. One often encounters pathetique characteristics and adjectives among them. However, when the author speaks of the exalted, deep, and penetrating character of his music, there is no reason to accuse him of immodesty, since the composer is looking for a friend in the performer, united with him in common striving for a high goal.

A quip by Taneyev comes to mind. For example, the tradition of beginning the repeat of the famous funeral march in the Chopin B flat minor sonata fortissimo has no basis.

One may point out many other cases where composing style is violated by unjustified shadings of dynamics and tempo, though the note-text by no means conforms to that interpretation. Listen carefully to his interpretation of the finale of the Chopin sonata. How flexibly and precisely the genius performer follows each change in figuration character, shading melodic and harmonic elements, underlining thematic elements in continuous, swift motion.

That is, the system of sparingly used directions; the method of detailed directions that follow from the composing style and the notes themselves; and finally, the case of additions that significantly enrich the metric-pitch coordinates themselves. Nevertheless though with some danger that we might be accused of insufficient respect for the performance markings of the classical composers , we suggest giving preference to the note-text, which fixes the main metric-pitch coordinates of the composition, and with them what are, for a performer, the most precious details of style.

Experience shows that matters that are finalized and fixed turn out to be not necessarily the most durable in the development and evolution of style. Much is destroyed under the attack of historical changes and new trends, in art as well as in real life. Style changes, the evolution of consciousness, individual ways of perceiving — all shatter the seemingly unshakable basis of the greatest accomplishments of genius, and quite often accepted canons and traditions suffer because of the rigidity of their construction.

Therefore those pianists who learn a work using examples established in recordings make an error. Imitating another artist they adopt not only his interpretation but also the conditions under which it developed and was realized.

But all those conditions may be radically different from the ones a given performer can reliably expect. If samples of Bach, Haendel, Mozart or Beethoven playing had been preserved, given the great interest they hold, would these high examples seem blemish-less to us? If the gramophone record had been invented two hundred years ago, it is in fact unlikely that a modern performer would precisely replicate the performing traditions of times long past.

The evolving performing art is less durable than the composition itself. A musical composition that has been fixed in notes but has not been performed, that is only on its way to full realization in sound, is not completed. Probably it is because of this that a beautiful but for whatever reason unperformed composition sometimes retains an unexhausted potential energy of ideas and emotional essence.

On the other hand, typically great works that are heard over several artistic epochs successfully survive the stylistic diversity of performance techniques. Not only do phrasing styles and the means of sound-production change, but also the very instrument that the work has been written for undergoes evolution and perfecting. The modern listener might not be satisfied by the sound of the harpsichord in performances of old works written for the instrument.

The modern piano is so different from the original keyboard instruments that the appearance of new stylistic trends related to new sound and technical possibilities is quite natural.

Descriptions of the playing of the great pianists of the past do not always conform to modern esthetic demands. Even in the course of his own life a pianist often witnesses changing tastes and styles of interpretation. However, playing is devoid of conviction when the performer himself is unsure of the logic and necessity of his interpretation. An artist is distinguished by conviction and the stability of his artistic positions.

The more distinctly the desired result of his efforts emerges, the more clearly the artist sees the shortcomings of his playing. A clear musical vision increases demands on performance. A well prepared plan of interpretation helps to solve not only problems of style but technical difficulties as well. We always consider the harmonic agreement of goals and means to be the highest stage of mastery.

There exist champions of curatorial trends in the performing art. Their basis is the idea that the loss of the original — coeval with the work — performing techniques and playing styles; new instruments, evolving virtuosity and changes of technique — all widen the gap that separates us from the earlier composers, and serve to attribute foreign stylistic qualities to him. These views permit of no progress in performing techniques for the classical works. Mutatis mutandis introducing necessary modifications , one should not put new wine into old barrels: new "clothes" do not conform to the artistic aspirations of the past.

The old instruments are restored for that purpose, the finest details and stylistic particulars of prior eras are imagined, using descriptions and evidence that have reached our times, the old atmosphere is recovered, turning off the electric lights and lighting the candles.

Does a composition that touches the heart of a modern listener need these transparently ancient clothes if it makes us forget the destructive forces of time, and stimulates our imagination and aesthetic feeling? Any performance is just a transparent membrane for the invariable inner force that holds together the content and form of the work, for everything that has been crystallized and finalized in the written notes.

It should allow a clear vision of the potential energy that is contained in the composition, and that is eager to be seen under new conditions. A composer exhibits the special wisdom of historical foresight when he allows sufficient freedom of interpretation to the performer, and crafts his ideas with flexibility and elasticity.

The most firmly fixed material often turns out to be the most fragile. These ideas are the springs of time. The inner force of original ideas comes into live emotional contact with a multitude of perceptive minds — the new audience, new times, new tastes and artistic vision — through the flexible elements of the performing art.

A Professional and an Amateur. One of the main problems related to the performing art is its value socially. The need for and role of an artist-interpreter are obvious. Besides playing aloud, one may also replay the sound as reminiscence, or imagine it while reading the score. A poem also assumes a performance.

Declamation depends on an individual performance to an even greater degree than music. A reader of a poetic work is simultaneously a performer.

Even if he does not recite a poem out loud, the rhythm and all the sound elements of the work are realized in his mind — as a particular interpretation. A creative refraction of the text is necessary even in reading. Still it is unlikely that a poetry lover attributes any objective value to his interpretation. Of course, one has to consider silent reading as the most subjective degree of "performance. The inner sound images in music appear most often as a recollection. However, the next stage of subjective interpretation in poetry — "reading out loud but for myself only" — corresponds reasonably to the playing of an amateur acquainting himself with a composition or performing at home.

Lack of technique, naturally, prevents an amateur from a complete expression of his understanding of a piece, and he realizes this, restricting his audience to his home circle or playing just for himself. However, even such intimate playing is not simply a mechanical process but rather a creative one that reflects individual treatment of the content and form of the work.

A form of competition between amateur and professional arises, which subjects the contested originality of ideas and depth of emotions to mutual criticism and analysis. All the advantages are of course on the side of the professional, who possesses a technique that allows him to completely express his ideas as to a musical work.

Nevertheless, how many creative forces and ideas may be hidden in the unassuming and imperfect playing of a dilettante! How often a listener returning from a recital by an important performer remains unsatisfied. An amateur does not completely trust the professional. He treats each new public interpretation of his favorite work with jealousy, accusing the performer of superficial, insufficient love, and lack of selflessness in his chosen pursuits.

It would be a mistake to dismiss this as a sign of sheer overconfidence. However, no matter how convinced an expert is of the supremacy of his erudition and the strength of his craft, he should take into account the persistent, passionate desire of a listener, which accompanies the active perception of music, to take initiative in conveying the ideas and images of a piece.

Not only is a musical composition a treasure that belongs to all amateurs, but also not a single listener in any audience relegates himself to the passive role of spectator.

A nod, a hand movement that follows the music rhythm, an attempt to sing silently a memorable theme or tune on the way back from the concert — these are all signs of a natural desire to participate in the performing process. The expression of even minimal creative activity leads to high moral satisfaction for an amateur, as it is accompanied by the feeling that something created as abstract, general and non-concrete, now resounds for him too.

The movements of a professional conductor nearly turn him into a kind of master of music, independent of his immediate artistic direction. A dancer, by means of expressive plasticity, or even a marching soldier, merges his movements with the music, as if possessing it for themselves. A perception drops any claims to its own individual plan of interpretation only when a listener becomes one of the performers — as a participant in the common musical action — as a chorister, or orchestra or ensemble member.

We observe two distinct domains — those of composition and of sound realization — and establish the prerogatives of the performer and the composer. At the same time we may determine varying degrees of involvement on the part of a given [listener]. They not only follow the development of musical ideas but also feel the coming direction of the flow of sound, anticipate the importance of musical events. Like participants in an ancient Greek tragedy, they melt together with all the turns and twists of the drama, sympathizing, feeling anguish, and foreseeing coming events.

Underestimation of the personal participation of the listener in music perception is a grave error on the part of an artist-performer. Not all the emotions, life and breath of the performer on stage reach the audience completely; a concretizing artist must be content with silence and attention.

But this in itself is not sufficient: agreement and unity are needed. A performance in front of an audience is an act of purification as well, of all that is hermetic and subjective, an act establishing individual features that have universal value. A performer justifiably requires total attention from listeners as he brings them not random and passing accomplishments of taste, fashion or artistic whim, but his own gift of opening the depths and values that are inseparably linked to a true creative process.

The Double Life of a Musical Image. A musical image has two lives: one in our minds, and another in real sound. Not just simple melodies but entire compositions — with all their harmonic and polyphonic riches and the timbre color of the orchestral score — fit comfortably in the part of mind responsible for musical conceptions and auditory imagination. This is a special domain of consciousness where music can live a priori — before realization in sound and before the experience of sound.

Musical imagination and inner hearing help the composer, during the creative process, write his ideas down in notes with sufficient precision. Even before concrete sound is realized, he can hear the composition in his mind with sufficient precision and clarity.

Upon completion of a score, the composer knows that the created music now exists as an artistic entity. We reconstruct a musical piece in our mind, using this same auditory imagination. The precision and completeness of this reproduction depend, of course, on the musical memory and gift of the listener. The composition is deposited in the musical imagination with greater and greater completeness and increasingly refined detail upon repeated listening.

It is recorded in our mind, which is blessed with a musical memory. Still, one should hold the musical imagination in the same regard as the skill of musical perception.

Hence each sound imprints in our mind an imagined sound echo. This echo occurs in a silent world. Silence in a sense serves as a neutral surface. The sounds of real music arise out of stillness. However, sinking below the surface we enter the realm of sound imagination.

This opposition may be perceived as the original positive and negative sides of musical sound. Silence is the background of musical art. A real sound emerges above the surface; it sinks lightly into it, the convexity of the sound changed by the concavity of the imagination. A composer collects sounds drop by drop in his work, neither reaching nor violating the stillness. The paint in painting, or the stone in sculpting, invariably brings essential modifications to the artistic plan. A finished sculpture stands in front of us as a result of the unified efforts of nature and artistic will.

But a musical idea usually reveals itself as an identity of inner and outer forms, the identity of an inner concept with its realization. The absorption of a musician reading the score of a noteworthy composer is understandable: he is imagining beautiful music that has not yet been realized in sound. Wagner claimed that creating the instrumentation of his pieces brought him a special uplifting, as he now heard the music in an ideal rendition.

Schumann pointed out as well that all the signs of the score were reconstructed in his mind as he listened to music. There is no doubt that an essential and serious barrier exists, separating imagined and realized music.

A composer often approaches the instrument in an attempt to escape the enclosed world of the imagination. He is looking for support in real sound for the created musical image.

He verifies his theoretical findings like an experimental scientist. But this does not modify the principles of the composer for whom the clear picture of a musical image is simultaneously its realization — in a smooth and integral transition.

Many extraordinary composers have written without an instrument, particularly during the classical bloom of symphonism. It is said that Mozart wrote the sketch for the score of the overture to "Don Giovanni" in one night, as it had already been fully composed in his mind.

With his hearing loss, at the end of his life Beethoven completely lost the ability to hear his own music. Enormous strength of conviction as to the infallibility of their creative decisions — decisions that virtually never required correction on account of realized sound — is felt in the scores of Bach, Haydn, Mozart.

However, the process of realization of sound images does not pass so painlessly and easily with some composers. Some shyness, lack of trust in the reality of sound, some fear of loss of much of the feeling and thought in the final act of creation, is felt in many Schumann scores and especially in his chamber compositions.

A creative dream sometimes exceeds the possibility of its realization. The concept is grander and at the same time finer than the result. A kind of unfilled gap is left in the second movement of the Piano Concerto, or in the romance on the Heine poem "I cried bitterly in a dream" — a gap in which the imagination acts more strongly on the far side of real sound, in the kingdom of pure poetic fantasy.

The Performer s is the person or band that performs the song, whether that be recorded or live. Each is entitled to different rights and separate royalty streams. The performer s can earn on the master recording , while the songwriter s will always earn on the composition , regardless of who the performer is. Songtrust does not collect on behalf of the performer unless they are also the songwriter. You can not register cover songs with Songtrust. Globokar is a good example of having different attitude toward the electronic medium because he views the technology more as a tool, rather treating it as a spiritual entity like Stockhausen did.

So yes, if you work with it and listen to it long enough you do develop an intimate relationship with the sound and its tendencies. The difference is that because Globokar uses electronics primarily for its live-processing value, it becomes an extension of an instrument rather than the electronics itself replacing the concert experience, which the quote above seems to be arguing for. But his methodology is pretty old by contemporary standards, both in technique and in its ideas.

This is ludicrous. Nobody is forcing you to defend him. Almost every single time they attempt to philosophize, it tends to refer back to an idea which has been around for centuries before.

This is primarily the reason why philosophers have paid very little attention to classical music after Adorno, who was a champion of Shoenberg. For a portion of my childhood, I was convinced I had seen and perhaps traveled on a spaceship. But towards what? Sun Ra similarly claimed that he was from Saturn, but his reasons striving towards such a thing is clearer — he believed that he could transport African-Americans away from the brutalities of life and racial oppression through the power of music, towards a more peaceful and tolerant society.

Well, I can speak from experience, having gone through two very different types of compositional programs in my education. When I moved out to the west coast, it was all about Cage and the experimental music tradition. Say, do you believe that the composer, being in a type of administrative position and all, should be held accountable for their ideas?

Personally I find this pretty disturbing. So many sounds that once seemed so mysterious over time became a part of the vernacular of popular music. The point is that there are reasons why certain ideas come about and are championed in the schools and in certain institutions, why certain composers are put into the limelight and why others fall into obscurity.

These can be derived from historical and social trends, and can be talked about in specific terms if there is an interest in it. And maybe this goes back to the quote that Steve dropped into this thread. In retrospect, as I said earlier, what once sounded crazy is now a part of our vernacular. If you want to fine-tune your subscription prefences please do it below, or come back and visit your settings page later.

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