Your Opinions of interpretation in Pantomime - Philip Sparke

Discussion in 'The Rehearsal Room' started by matty1986, Jul 6, 2009.

  1. matty1986

    matty1986 Member

    I'm working up Pantomime at the moment and just wondering about different people ideas of interpretation on the 2/4 passage from M.

    For those who haven't played to piece but have heard it. It's marked crotchet = 168. The semi's in the passage are grouped by a slur line into groups of 4.

    Now I was wondering, in this passage do people play them as true groups of 4, and re-tongue the first of each group, or do people just slur all the way, only re articulating when there is a quaver in the passage.

    Thanks for your opinions.
  2. Columbo

    Columbo Member

    Get the old Child's recordings from the 80/90's and you won't go far wrong Matt.
  3. matty1986

    matty1986 Member

    Hey, how's the back?

    I've not heard the 80/90s ones. But i've heard David Childs, and it sound to me like he just slurs the lot.

    Likewise with most of the other recordings. But technically it's written groups of 4 and to re-articulate.

    Just not sure which to go for :s
  4. KMJ Recordings

    KMJ Recordings Supporting Member

    Just do whatever works / sounds the best.

    If it's for a contest you might need to think about it....but just because it looks like it's there doesn't necessarily means it needs to be over-egged ;)
  5. Columbo

    Columbo Member

    Very Sore m8! Just started walking again! Play which ever way you can fit all the notes in and whatever is comfortable. No one is asking you to be as good as the next man and from what I've heard you've nothing to worry about. Slow it down. (Sorry for the Cliche!)
  6. matty1986

    matty1986 Member

    Hopefully thing's will ease on the pain front soon!!!

    I was hoping to play this for a few contests, and possibly for one of my recital pieces at Uni.

    For concert work, I think is sounds more flowing just sluring the whole thing. But for something were it's being marked i'd like to make sure i'm doing what "appears" to be the obvious.

    But i suppose it is down to interpretation, other people will play it completely different from me, it would be boring if we all played it the same.
  7. matty1986

    matty1986 Member

    Forgot to put this on my last post!

    Thanks for the compliment, but I like to push myself to be better than others. By no means am I or will be of a Childs Standard of playing. If you aim to get a performance out of a piece that can be somewhere near the top players you can't go far wrong. Or I like to think so anyway! :p
  8. KMJ Recordings

    KMJ Recordings Supporting Member

    Sure - I guess the point I'm rather badly trying to make is that there's obvious and there's 'Obvious'....and not to let the articulation get in the way of the line....just because it's tongued, doesn't mean it's accented (but you know that ;) and IME things that are written like this can sound stilted if it's overdone.

    Take another example - the last variation of La Belle Americaine...if it's played fully articulated as it's marked it can be very clunky, but just mark the accents (and obviously the repeated notes) and slur the rest 'improves' it....

    ....but you're quite right, it's all down to interpretation.

    Good luck with it - it's not an easy piece, but is rewarding when it comes off :D
  9. matty1986

    matty1986 Member

    Yeah, I really like it, he's done some good one.

    I agree though, in the last section if every group of 4 is articulated, I think it interferes with the line and flow.

    I suppose confidence might play a big part aswell. Being confident with your interpretation, and not take it to heart if people don't like the particular way you did something in your interpretation?!?!?!?!
  10. KMJ Recordings

    KMJ Recordings Supporting Member

    The thing that sets the very best in this game apart from the others is belief....hopefully not to be confused with arrogance...make the music your own, if people don't like it so be it...but most people recognise a good performance.
  11. matty1986

    matty1986 Member

    That can open up a whole new way to look at thing's. And change the subject of the thread.

    Can an interpretation technically be "wrong"? If it's miss read, wrong notes, obvious missed accents, wrong rhythm, that can be called wrong. But if you think it sounds better a particualer way, and you have observed that basic's, could someone honestly say you we're wrong, or more like I didn't like your version??
  12. Blagger

    Blagger Member

    nick Childs taught me at Salford in the late 80s. Stating the obvious in saying he was one of the finest players ever to blow a note through a euph - however when we used to play through his latest solos in our lessons (pantomime included) his approach was to always go for interpretation that made any passage easier - ok - he could play it backwards - but he always told me to never let the notes get in the way. In other words - play it so you sound the best at it that you can. Hope you get my drift ;)