※ 引述《Lusay (累了)》之銘言：
: 我記得那張黑黑的Fennell指Cleveland symphonic winds裡的大頭舞曲
: 演奏到 B 的時候,銅管和打擊興奮的差一點趕拍...
: 後來才趕快跑回來...
: 難道說本來就應該自由變換速度...?
: 大頭舞曲就是這樣?I don't know...
There is no "absolutely fixed tempo". If we play any music
from top to bottom with "exactly" one tempo, that's machine.
The effect is special and may be good in some piece. Not in this
suite of Holst.
There is no "freedom without discipline". Rubato is allowed but
the ensemble should be together and the music has to flow continuously.
More, why should one play with rubato somewhere and not elsewhere?
If you decide to change the tempo a little bit somewhere, you'd better
explain to yourself why. "Because I feel it so." is not a good excuse.
The structure of the whole piece and the harmony around that part and
the texture of the lines are all clues.
I am not oppose to speed up a little in the middle of that part
of Chaconne. There is a "mountain" to climb, but after that peak
I don't see good reason to rush the 16th notes (woodwinds). The brass
and percussino are pretty solid.
Anyway, I don't remember that Chaconne very well. My opinion may
not stand after some carful thinking. To know how to do it, one
need to either listen to or read the music. I did nither one of them
because I am sitting in my office in the lunch break.
Hsuan-Yi Chen
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