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  • Bartok: Divertimento for Strings Synchron Strings 1 + Solo-Strings

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    My Synchron Explorations continue with another Masterwork of 20th Century Music for Stringorchestra. (Again no with more than 20 minutes 20th century music nothing for any kind of "wanna-be's'😛) but great music for all who know to make use of Synchron-Strings.

    Bela Bartok: Divertimento for Strings

    Following the detailed advises for Tempo and Duration I found out that among more than 40 Recordings there was simply not a single one that did not used more time than demanded by Bela Bartok. By far the most of them havce been even considertably longer up to 7-8 Minutes. So it currently seems to me, that there are presumably not much other recordings realising what Tempo Bartok excatly composed this wonderfull piece than this recording.
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    @fahl5 said:

    My Synchron Explorations continue with another Masterwork of 20th Century Music for Stringorchestra. (Again no with more than 20 minutes 20th century music nothing for any kind of "wanna-be's'😛) but great music for all who know to make use of Synchron-Strings.

    Bela Bartok: Divertimento for Strings

    Following the detailed advises for Tempo and Duration I found out that among more than 40 Recordings there was simply not a single one that did not used more time than demanded by Bela Bartok. By far the most of them havce been even considertably longer up to 7-8 Minutes. So it currently seems to me, that there are presumably not much other recordings realising what Tempo Bartok excatly composed this wonderfull piece than this recording.

    Such a great achievement! Finally! More than 40 professional conductors, and more than 500 professional string players spent a full life learning how to inflate emotions in the performance and transform a score into real music. But... gosh, they can’t keep the time. If you slow down a phrase... hey, you must accelerate the following to recover! Was accelerating not requested? Doesn’t matter, you have to, or you will be late at the end! Hummm... all the more than 40 ensembles didn’t get it, and failed the mission. But now... Now a mathematician discovered the tempo line of the sequencer, and the play function, and he can convert back the real music and the emotions into a cold score! And he will finish in perfect time! Such a pity Bartok can’t get the good news... This is the progress! Great job Dr. Fahl! It’s defimitely a unique achievement.
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    If I understand you right, you seem to believe what Bartok has defined so very precise, was simply wrong and to try to follow Bartoks advises is therefore wrong to.

    Sorry that is simply not my attitude. I still believe the original composer deserve the respect, to try to realise what he demands.

    In this case we are not talking about a few unclear general hints for the tempo. In this certain piece Bartok noted beside the traditional italian tempoadvises not only metronomic values and timesignatures. Not only once for a movement, but in all movements very detailed. (nearly always with italian advises, metronomic values and timesignature!)

    If I understand you right, than to follow those detailed advises is in your opinion simply wrong. What means it obviously must have been wrong from Bartok to compose like that?

    Sorry if you would be a bit more familiar with the concept of interpretation of Scores from the classical tradition, you would probably know, that there is always enough freedom for intepretation..... above the limits of what a composer spent the time to comunicate it with his score - but no freedom to simply ignore it. It is no crime to believe a composer in what he want. The problem seems to me more often that the interpreters simply are not courageous enough to beleive what the composer want.

    The fact, that the by far most interpretations ignored what Bartok demands so considerably makes it in my humble opinion at least even more interesting, to simply try once how the music would be, if one respects the demands of the composer. It is a pitty, that this seem to you that inacceptable,while I can nbot see any concrete reason why exactly this seem to be worth to be as much reduced as you try it here. For the niveau of the discussion we arte trying to keep here. Just name me any concrete reason why Bartok was in your opinion wrong to demand the interpret to follow a that precisly defined a so detailed tempos and tempo changes.

    Finally I would just humbly ask you, if you would be happy if anyone would comment the results of your work in the way, you do comment nearly everything I post here?  Did you think the discussions here do have any benefit from the attempt to reduce the work of others like that? `....Just a guess.

    I still believe those who realy work for and produce music and realise projects deserve at least the same respect one should always have for another, no matter how productive or not you in reality ever might be.
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    No dear Steffen, You didn’t get the point. Of course I was joking to make you understand what is the feeling of others when they got by you the same treatment. I had never taken such an initiative if I didn’t receive by you the personal insults you polluted my private inbox with. But jokes are nice if they are short, and the forum deserve relaxed professionalism instead of such personal frictions, then after you got an experience of what you were dispensing, I am over. All the best, Fabio.
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    Sorry, there is simply not one single exsample where ever I publicly tried to reduce any work you presented here. So I can not see anything which might justify your behavior against:

    @ "pollute²:  I posted you PM three times ( a longer PM-concersation with you at the Jul 31th, one PM Aug 1. and one PM October 5th). Nearly always trying to ask you for the reason why you constantly try to reduce what I do. That is what you call "pollute".I chose the PM since I believe personal problkems should be better solve with pertsonal messages and not publicly. But your term "pollute" makes this of course impossible.

    So listen to me here: please keep this Forum free from any personal animosity and concentrate on the music presented and discussed here by the members if you are interested. But do me a favour, if you are not interested, just do something other you might be more interested instead of constantly trying to make what you call a"Joke".

    Of course it is no "Joke" to reduce others work, and that is exactly the reason why you will not find any exsample where ever I would have treated any music you posted here in any way like you react agsain and again on the music I posted here my contribiutions.

    I personal think, If yoiu realy were a musician, you simply would have done what I realy do: show the music you produce and convince with the quality of the results you are able to achieve. I strongly believe this would be much more interesting and inspiring for all.

    Sorry that your postings which obviously never tried to relate in any serious way to my Synchron-Recording of Bartoks Divertimento which is the original subject of this thread made it necessary to be likewise off topic in my answer. But it is still just the attempt to concentrate the discussion on what is the real subject and to avoid further discussion without any serious interest to discuss, what is presented here.

    VSL is a courageous company which seriously push the development of sampled instruments more than any other in the market . I strongly believe, they deserve a more serious and less personal kind of discussion of what is possible with their great products in their Forum. I still hope we might finally come back to a less personal and more constructive kind of discussion.
  • richhickeyR
    richhickeyR

    Thanks for posting that rendition. It was interesting and illustrative.
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    @richhickey said:

    Thanks for posting that rendition. It was interesting and illustrative.

    Thank you for your friendly interest and reaction.👍