Building An Interpretation
Many are, undoubtedly, the merits of a book like this one. But, to
stress what I consider its highlights, I would point out three aspects
that make its reading highly recommended, if not indispensable.
1) Cleverly eludes the false dichotomy between interpretation and
execution, and doesn’t conceive (as it is usual in music conservatories)
them as separated spheres, and much less correlatives. Opposite
to the concept that working on an interpretation is a later stage in
the process of internalizing a musical piece, preceded by the mere
mechanical execution and devoid of any analytical intention, the
author stresses that the interpretation begins at the very moment
we choose to play. Or even before, during the widened acquisition of
the criteria, which makes possible such election. Thus, interpretative
bias is present from the beginning of the process: it is a need and an
urgency, and not something that can be left behind.
2) Recognizes and recommends the huge work the musician can
do without his instrument. In a line of thought that bonds with Carl
Leimer’s “La moderna ejecución pianísitca” (The Supreme Pianistic
Execution), emphasizes the importance of an in-depth study of
the score, which can be done without the guitar, promoting our
imagination, intuition and analytical capacity.
3) And last but not least, this book presents a true system for
interpretation, using a clever and didactic analogy with the task
of imagining, projecting and building a house. Across the different
chapters, insists on this core idea, drawing from it a myriad of sharp
observations, conclusions and lessons full of meaning.
I want to thank Master Carlos Eugenio Santi for the confidence
Carlos Eugenio Santi 13 Building an interpretation
he placed in me, that once again is materialized in the gesture of
inviting me to write a few introductory words for his book. A job
that I fulfill with satisfaction and the belief that its pages contain
a substantial contribution for every guitarist and interpreters in
general.
PABLO DE GIUSTO
Guitarist, composer and professor.
Professor through contest, lecturer of harmony I, II and III,
and conterpoint III at Faculty of Arts. National University of Córdoba
stress what I consider its highlights, I would point out three aspects
that make its reading highly recommended, if not indispensable.
1) Cleverly eludes the false dichotomy between interpretation and
execution, and doesn’t conceive (as it is usual in music conservatories)
them as separated spheres, and much less correlatives. Opposite
to the concept that working on an interpretation is a later stage in
the process of internalizing a musical piece, preceded by the mere
mechanical execution and devoid of any analytical intention, the
author stresses that the interpretation begins at the very moment
we choose to play. Or even before, during the widened acquisition of
the criteria, which makes possible such election. Thus, interpretative
bias is present from the beginning of the process: it is a need and an
urgency, and not something that can be left behind.
2) Recognizes and recommends the huge work the musician can
do without his instrument. In a line of thought that bonds with Carl
Leimer’s “La moderna ejecución pianísitca” (The Supreme Pianistic
Execution), emphasizes the importance of an in-depth study of
the score, which can be done without the guitar, promoting our
imagination, intuition and analytical capacity.
3) And last but not least, this book presents a true system for
interpretation, using a clever and didactic analogy with the task
of imagining, projecting and building a house. Across the different
chapters, insists on this core idea, drawing from it a myriad of sharp
observations, conclusions and lessons full of meaning.
I want to thank Master Carlos Eugenio Santi for the confidence
Carlos Eugenio Santi 13 Building an interpretation
he placed in me, that once again is materialized in the gesture of
inviting me to write a few introductory words for his book. A job
that I fulfill with satisfaction and the belief that its pages contain
a substantial contribution for every guitarist and interpreters in
general.
PABLO DE GIUSTO
Guitarist, composer and professor.
Professor through contest, lecturer of harmony I, II and III,
and conterpoint III at Faculty of Arts. National University of Córdoba
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