hanysz wrote:This is a worrying attitude.
I'll just beat Chris to it by stating that I didn't know that attitudes could worry.
Alex, I assure you that I'm not doing what you're suggesting, this is just getting back to the matter of evidence category
, and Richard is suggesting the same. Just as embouchure
of wind-playing has nothing to do with piano playing, so also does the fact that an ensemble of musicians can
do a thing (that "2-layered rubato thingy") not prove that a single
do it; whether he/she should or shouldn't isn't my issue. I feel like I'm going in circles. Please
respond henceforth, if you or others wish, just to the following:
Historical documents indicate the existence of a performance practice by solo pianists (mostly if not entirely connected to Chopin) of a trait whereby the composed melody (RH, LH, imbedded in both) becomes rhythmically dissociated from the accompaniment that it is composed together with. This pianist has never witnessed (nor been taught) such and desires to witness it if it is, in fact, an extant practice. Citations of recordings with work and measure number (or links to same) or submitted recordings of self-generated examples, that would allow for simultaneous visual (score) and auditory review are highly desirable.
I think (?) that would have been a better initial post.