m3838 Posted July 12, 2008 Share Posted July 12, 2008 I find this a load of arrogant codswallop. If I were you, I'd stay away from such hacking epithets, based on very poorly understood piece of text you are replying to. Many people seem to equate virtuosity with playing very fast. It's not. Playing very fast is simply flashiness. Who exactly? It seems to me nobody does, or ever did, except for stupid Russian Bayan players with hairdo, but that was only in the 60s. I suspect that there the limitation on how fast you can play the Anglo Concertina is not in the players' fingers, but in the instrument itself. If so, it means cheap piano is faster than expencive concertina, and justifies concertina been not considered as seriously, as piano, which proves the point, made above. A virtuoso is not only able to play fast, when needed, but also expresses feelings on deeper level, than anybody else. For such an expression he needs tools. The more tools a virtuoso has, the more complex his music becomes. Part of his technique is passed to students, further elevating accepted level of performance, to the point, where students nowadays, play more difficult pieces, on more advanced level of craftsmanship, then virtuosos of the past. It has not been the case with English concertina yet. It's technique seems to decline, while Anglo Concertina Technique has risen to higher standards. Still, compared to other instruments, AC is not up to level yet. But given the large number of very talented young musicians, it soon be there. I give it some 20 years. EC will largely remain amateur's instrument, just as it was advertized in the beginning. Brilliant design, totally successful. Another thing is the discussion that I object to is the underlying assumption that if an instrument is not used in the classical orchestra it can't be a serious instrument. Such fullishness could not possibly has been expressed. It was only stated, that musical instrument exist for sole purpose of making music. Music must be expressive. There are tools for expressiveness, mainly bending pitch, applying different volume, and varying volume between the tones. The less tools you have, the less you can express. Orchestra has not even entered the discussion. Your points are correct. within the limitaiton of the instrument, there are enormous possibilities. But so far Alister Anderson's rendition of Telemann on English Concertina can't be compared to same music played on Cello by some virtuoso. Been bigger fish in smaller pond doesn't make it to the Olympus. Quote Link to comment Share on other sites More sharing options...
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