Is the gift of composition really so at odds with that of interpretation?
June, 10; 2024. By Arscodex
In today's article we come to review a relationship between two domains, mainly belonging to the world of music but that can be extrapolated to the world of cinema, which are that of musical composition (considered by this magazine the greatest gift in its category and one of the main ones of artistic creation) compared to the (minor) gift of interpretation. That is, to be a good composer, can you also be a good performer?
Well, in this aspect there are several cases to highlight throughout the history of music. First we go with one of the big pieces of the matter, that is, we are going to talk about Mozart, yes, the composer and performer, known by all, and "bringer" of a good number of incredible melodies for the grace and enjoyment of the rest of us. Well, Mozart was a composer but before that he was a performer, since as we all know he was a child prodigy and gave concerts at an early age. Therefore, according to this scheme, nothing prevents a good composer (or an excellent composer, we would say), such as Mozart, from also being an interpreter. In this case, genius manifested itself in this way.
We continue with Paganini, the Italian violinist, whose birth took place a little before Mozart's death. Well, although this musician, Paganini we say, has left some compositions, the best of his talent may have been lost, because since musical recording did not exist in those times, we have lost his interpretations, which apparently were amazing, even diabolical. He has left us, as a musician that he was, a series of studies and some compositions as well, but which in the history of music as a whole are considered (or at least in this publication) as minor.
And to finish we will talk a little (I will talk a little), about my own experience, you know the one who writes is a film producer, and a musician, a composer musician; I think that at this point the presentation and brief explanation of all this makes no sense. Well, the writer declares himself, specifically and particularly in the world of music, as self-taught. Yes, friends, I am self-taught and I don't know how to read music properly. It is true that he has had some individual classes throughout his life related to music, or he has obtained certain information about music theory that has come to him from various sources.
Who knows if, with affection, this musician who writes had followed the regulated career in this art (that is, the musical conservatory associated with an instrument) he would have lost everything he had inside precisely for having been molded by regulated education. Who knows. And in this way, the writer, who is musically illiterate as has already been mentioned, if he had learned to be a performer of an instrument he would perhaps have also lost access to his enormous compositional material.
The same occurs with the gift of film direction or creation and that of acting. The writer declares that his feature films have been, practically in their entirety, improvised, and the script was transcribed a posteriori. And the writer declares that as an actor he considers himself terrible, incapable of correctly memorizing his lines and even more incapable of interpreting them.
Anyway, as they say, "every master has his own trick", and here are some of my techniques and my particularities as a musical composer, along with the particularities of the other artists mentioned in this article who gets, right now, at its end.
Well, in this aspect there are several cases to highlight throughout the history of music. First we go with one of the big pieces of the matter, that is, we are going to talk about Mozart, yes, the composer and performer, known by all, and "bringer" of a good number of incredible melodies for the grace and enjoyment of the rest of us. Well, Mozart was a composer but before that he was a performer, since as we all know he was a child prodigy and gave concerts at an early age. Therefore, according to this scheme, nothing prevents a good composer (or an excellent composer, we would say), such as Mozart, from also being an interpreter. In this case, genius manifested itself in this way.
We continue with Paganini, the Italian violinist, whose birth took place a little before Mozart's death. Well, although this musician, Paganini we say, has left some compositions, the best of his talent may have been lost, because since musical recording did not exist in those times, we have lost his interpretations, which apparently were amazing, even diabolical. He has left us, as a musician that he was, a series of studies and some compositions as well, but which in the history of music as a whole are considered (or at least in this publication) as minor.
And to finish we will talk a little (I will talk a little), about my own experience, you know the one who writes is a film producer, and a musician, a composer musician; I think that at this point the presentation and brief explanation of all this makes no sense. Well, the writer declares himself, specifically and particularly in the world of music, as self-taught. Yes, friends, I am self-taught and I don't know how to read music properly. It is true that he has had some individual classes throughout his life related to music, or he has obtained certain information about music theory that has come to him from various sources.
Who knows if, with affection, this musician who writes had followed the regulated career in this art (that is, the musical conservatory associated with an instrument) he would have lost everything he had inside precisely for having been molded by regulated education. Who knows. And in this way, the writer, who is musically illiterate as has already been mentioned, if he had learned to be a performer of an instrument he would perhaps have also lost access to his enormous compositional material.
The same occurs with the gift of film direction or creation and that of acting. The writer declares that his feature films have been, practically in their entirety, improvised, and the script was transcribed a posteriori. And the writer declares that as an actor he considers himself terrible, incapable of correctly memorizing his lines and even more incapable of interpreting them.
Anyway, as they say, "every master has his own trick", and here are some of my techniques and my particularities as a musical composer, along with the particularities of the other artists mentioned in this article who gets, right now, at its end.
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