{"product_id":"8595017429026","title":"Marek Stryncl, Musica Florea, Smetana: - Smetana: Ma Vlast - Import CD","description":"\u003cp\u003eCredits:\u003c\/p\u003e\u003cp\u003eMarek Stryncl, Musica Florea, Smetana:\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eDescription:\u003c\/p\u003e\u003cp\u003eRomantic composers and performers despised metronomes. Carl Maria von Weber once remarked that the metronome symbol was only useful to prevent major mistakes. Before him, Johann Nepomuk Hummel had stated that metronome indications were only relevant for the first few bars. We also know from an analysis of critical reviews of the time that Richard Wagner could easily have slowed down by a third or more without being marked in the score. Repeating sections of \"Allegro\" or playing \"Da Capo\" at a faster tempo was often encouraged. Decorative harmonies at the end of phrases were customarily slowed down or held \"as long as possible\"; after the early 19th century, crescendos became an almost automatic signal to increase the tempo, while diminuendo meant an indication to slow down. In contrast, the sure smaller forte, \"grand and majestic\" as befits Smetana's symphonic poem \"Vyšehrad,\" was intended to slow things down, and the same characteristic appears in his other symphonic poems.\n\n\n\nAs early as the late 18th century, one can find numerous recommendations on how to handle flexible tempi. Wagner advised the orchestra of the Prague Conservatory to listen to how pianists approached symphonic works. Even today, recordings attest to the constant presence of agogic, rubato, and flexible tempi. Contemporary critics tell us that orchestras should ideally play like small chamber ensembles, and that such \"improvements\" abound. But these shifts were never arbitrary. They always had to support the compositional \"musical situation,\" as Wagner put it.Wagner's interpretive \"radicalism\" influenced not only Antonin Dvorak but also Bedřich Smetana.\n\n\n\nVarious agogic \"weighting\" of unusually accented notes, deliberate \"non-rhythmic\" rubato with decorative slowing, contrasting \"light\" tempi in the dance sections or combining rubato with flexible tempi (as at the beginning of the Fifth Symphonic Poem \"Tabor\"), Romantic Romantic ornamentation, such as expressive glissando connections and deliberately uneven \"slurring\" in characteristic melodies, it is essential to restore the original musicality of Romantic works, which was severely diminished in the 20th century due to the mistaken belief that anything not written in the score is automatically forbidden The idea of the \"romantic music\" was born. This was not the case in Smetana's time. This is illustrated by the remarkable episode of the Harp Improvisation Prelude, which Smetana later notated with great enthusiasm.\n\n(Translated from Marek Streinzl, maker info.)\n\n(1\/3)\u003c\/p\u003e","brand":"Arta Music","offers":[{"title":"Default Title","offer_id":50968888607009,"sku":"8595017429026","price":2871.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0568\/8482\/2076\/files\/8595017429026.jpg?v=1742719289","url":"https:\/\/cdsvinyljapan.com\/products\/8595017429026","provider":"CDs Vinyl Japan Store","version":"1.0","type":"link"}