Simon Rattle and Wynton Marsalis in conversation
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- เผยแพร่เมื่อ 27 ก.พ. 2011
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Simon Rattle and Wynton Marsalis in conversation with Catherine Milliken about Marsalis's Swing Symphony -- an educational dance project with Berlin school pupils, the Berliner Philharmoniker and the Jazz at Lincoln Center Orchestra · Recorded at the Berlin Philharmonie, 10 June 2010
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Lovely to hear these two gentlemen describe the music they know so well, lovely interview.
every time when I listen to wynton's talk, it's always an inspiration. The level of art that Wynton and Simon achieved is respectable, but the respect between them is more important than anything they have been talking about. Thank you very much for posting such a inspiring video!
Beautiful...
Ótima entrevista!
The thing about jazz is that the music is limited to an individual for just one moment or captured in a self-contained recording. No trumpet player is going to try and recreate a Miles Davis solo, not even the venerable Wynton Marsalis.
Bach, Beethoven and Stravinsky wrote their music down so that it could be played and analysed over and over again. It's not restricted to an individual performer. Plus it's not commercial and so it's not restricted to following rules.
WHAT a delight to watch this interview!!! :o)
The symbiosis between these two full-blooded musicians (full of musicality & wisdom) is wonderful. Lucky "everyone" who has a chance to be part of this project.
Hello from Canada, Karin
@voyager2k420 'Classical' can have two definitions: 1750 - 1820 or art music. I use the term mostly to describe art music. If I want to refer to the period, I would be talking about the practices of Haydn, Mozart or Beethoven, so in that discussion the word 'classical' may not even be said! I consider, say Birtwistle, to be a composer or contemporary classical music. In fact, the true classical age was the age of ancient civilizations which adds to the confusion of the '1750 - 1820' definition.
I understand what you're saying about sheet music and recordings. Recorded music is like a photo that captured the performance and is preserved within itself, be it tape, record, cd, etc. Written music doesn't have the luxury of playing itself but is open to be played exactly as written or changed to whatever you please.
What I don't get is in your reply to davisc where you said "my preference is to art (serious) music." What does that mean? How is any genre not serious music?
@voyager2k420 I'm just trying to clarify myself. Jazz that seeks to be courageous and inventive could well be classed as art music. My preference is serious contemporary art (dare I say classical?) music, although I'm not allowed to use the word 'classical' for fear of being branded a purist.
@voyager2k420 My point is you can do a hell of a lot more with a score than you can with a recording.
@voyager2k420 My point here is that art music (I shall use that term to avoid the labels) can go much further than jazz in the way it breaks the rules. Firstly compare Richard Strauss with John Cage. Worlds apart no? Now compare Jelly Roll Morton with Miles Davis. There's a difference, but only a slight difference if you really think about the rules being applied.
@davisc1926 This is the definition of a symphony in todays world: anything. Any utterance of sound you may wish to call a symphony becomes a symphony. Btw, I didn't call jazz a lesser art form if that is what you were implying. I expect you simply assume that I think it's a lesser art form because my subjective preference is to art (serious) music.
@EdwardWhelanPiano Jazz isn't limited at all. It's the freest genre around! All the individual styles shine forth and create something unique about every group. Following rules? Baroque, Classical, and the Romantic period were completely about following a set of rules (a la: Bach, Beethoven). It wasn't until the dawn of Modernism (a la: Stravinsky) and Serialism that orchestral and chamber music started purposely breaking the rules set in the periods before.
@voyager2k420 When one is improvising jazz they are free to do what they want. This is freedom. However, you can't reproduce a jazz solo without recording equipment. This is a limitation. The only way we can place any value on jazz is to analyse and compare performances. This is the problem when jazz tries to sneak into the classical world. Compromise has to be made between the written note and how the performer feels. I feel that there can be no compromise when it comes to classical music.
@voyager2k420 Furthermore, composers have been breaking the rules since we knew how to vocalize! How else do you think we managed to progress through the periods of music you mentioned?! Serialism is a set of rules, it confuses me when you say it breaks the rules. Schoenberg, Berg and Webern all broke the rules of serialism. That's what makes their music great.
@voyager2k420 I don't believe it's a lesser art form, I just believe improvised commercial music should be separate from written art music. Have you heard the excerpts from the swing Symphony? It's all jazz! There are no symphonic elements in there whatsoever! But hey, if Simon wants them to play jazz, let them play jazz!
@EdwardWhelanPiano 'Lesser art form...commercial music?!? You couldn't be any more incorrect. I have the US debut of the Swing Symphony recorded and there a number of symphonic elements in it. You probably need to state 'your' definition of a symphony. You're probably getting thrown off by the sound of the blues that Wynton used in the composition for the orchestra.
@EdwardWhelanPiano The Classical and Romantic period were small steps in stretching the rules. Quite frankly, if they broke all the rules in Mozart's time, they'd be burned at the stake and labeled a heretic. Do you know what happened at Stravinsky's debut of Rite of Spring? And that was centuries later! Yes I know what Serialism is and I know its rules. I love how you just made my point, that the likes of Schoenberg broke the rules of Serialism and made it listenable.
@EdwardWhelanPiano So it's a limitation if a jazz song isn't recorded and is "lost" forever, except to the people who witnessed it? I really don't see that as a limitation at all. Sure nobody can listen back to it, or attempt to play it exactly like it was, but why be so bothered by this? Recording has been around since jazz took off in the 20's, and it's easier than ever to record live performances, so that point in a modern day context is rather moot.