# Do you think..



## exaltation (Nov 22, 2012)

that performers should "become the character" of the music they are playing, or not.

For example, when playing lively music, that is dance-like, to dance with the music. 

Does almost all classical music have underlying stories with real emotions that inspired them? 

I believe the answer is yes.

What do you think?


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## Crudblud (Dec 29, 2011)

I think any decision made by anyone is made according to factors rooted in the deepest levels of consciousness, whether it's artistic or in business or simply what they will eat for breakfast. To that end, of course any piece of music has unfathomable emotions behind it, but they are by their nature unfathomable, and I think it highly presumptuous of a musician to act as if they know what something conveys in objective terms, they can only know what it conveys to them, not to anyone else, and certainly not to the composer.

However, if a musician wants to dance, I say go for it.


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## quack (Oct 13, 2011)

I don't know the answer but it makes me think of this: contemporary classical clown composition.


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## Vaneyes (May 11, 2010)

I don't know.


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## Huilunsoittaja (Apr 6, 2010)

As a musician, I love the idea of getting into character with my pieces. I find it a kind of acting really. Although I am restrained when it comes to using my voice to be dramatic, when I pick up my flute, I can become a completely different person. It's an amazing feeling. Stories, emotions, images, those all affect how I play music. I can't help seeing and feeling in certain ways, and as I let myself free more and more, the clearer and quicker the emotions and images come to me.


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## joen_cph (Jan 17, 2010)

Martin Fröst is a rather famous clarinet player (doing recordings for BIS) who tends to dance quite a bit while playing say the Nielsen Concerto. It seems to work all right. 

Whereas the unusual perpetual body expressionism of Lang-Lang is often too much for me - over the top somehow.

But generally, further dance/emotional empathy in accordance with the music would make many performances more involving and less dryly predictable than it is often case. Some physical expression might even liberate musical phrasing as well. 

However several of the most superb and emotionally engaged pianists and conductors for instance kept a very straight face throughout their performances, so it is not in any way a necessity - it´s an individual issue whether it adds/would add to the performances.


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## Manxfeeder (Oct 19, 2010)

quack said:


> I don't know the answer but it makes me think of this: contemporary classical clown composition.


That's actually my favorite rendition of that piece. To me, it reflects what Berio was thinking.

As far as getting into a piece, if it's spontaneous, I don't mind. I've noticed when I'm playing in church and I start feeling a piece deeply, I react physically.

But it still bothers me when conductors do their little pseudo-dance when they direct a waltz - they start twitching everything but their legs and feet. It just looks goofy to me.


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## Ravndal (Jun 8, 2012)

joen_cph said:


> *Martin Fröst is a rather famous clarinet player (doing recordings for BIS) who tends to dance quite a bit while playing say the Nielsen Concerto. It seems to work all right. *
> 
> Whereas the unusual perpetual body expressionism of Lang-Lang is often too much for me - over the top somehow.
> 
> ...


I have seen that live! It was so strange to watch, because of his sudden fast movements with his body.

I love to watch theatrical pianists though.


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## Bone (Jan 19, 2013)

quack said:


> I don't know the answer but it makes me think of this: contemporary classical clown composition.


Quack is now my favorite forum member - trombone music that provides any chance to dress up and perform is a winner in my book. But no, to answer the question: if you can stand like a statue and pour out your soul while singing or playing that's fine.


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