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Date: | Tue, 10 Apr 2007 00:19:02 -0500 |
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Karl Miller:
>There are times that I think music might be better served by not having
>programs at concerts so one could listen without as many expectations...
This raises so many questions and variables, about both people and works:
There are so many different kinds of listeners, with the full range of
general knowledge and specific acquaintance with pieces. For some, to
leave prejudices behind would undoubtedly be a good thing. Some others,
on hearing the first bars, would surely have an "Oh, no, not this again"
reaction. In both cases a fresh interpretation and performance might
happily defeat expectations. But still others, with open minds and
little acquaintance with a work, might simply have too much to process
to get a decent handle on the work. In the case of a new or unfamiliar
work, it can make a difference to know if it is, just for instance, an
unterrupted work of ten minutes duration or a long work with several
contrasing sections. And good program notes--or live pre-concert
commentary--can create landmarks to listen for along the way.
>and that reviewers would be sent recordings without performers being
>named. I wonder about how we might listen differently without such
>information.
As in blind auditions. But those are done to ensure fairness on an equal
playing field. With newcomers or not well known soloists this might be
a good thing. But with established soloists anticipation of a certain
kind of playing or degree of brilliance can be confirmed or defeated on
a particular occasion for the informed critic or listener, so the review
might suffer in these cases.
Jim Tobin
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