Post by JPDSonority vis a vis structure. Gould cares about structure and not so
much about sonorities.
I didn't hear that: I heard that he didn't think that most composers
would insist on the fidelity to their (at that time) limited choices.
In the case of Ruggles he indicates an absolute disregard for how
others might orchestrate.
Post by JPDSome people talk as if structure is all that's important. (Jazz guys
and their analyses, for instance. Gould mentions this in a subsequent
video -- I think it was in the 3rd part.)
I wonder what "Jazz guys" you're lumping altogether in one groupthink.
Post by JPDBut this won't work so well for a classical guitarist. I tried to
approach this idea in the thread about playing guitar pieces on piano.
It doesn't work because the beauty of guitar music depends a lot more
on sonorities, colors, etc., than on structure.
And would does not have the same sonorities, colors, etc. on other
instruments, just as every actor does not have the same voice and face.
But that never implies that voice and face are irrelevant or sit in
some measure of superiority relative to their lines of dialogue.
Post by JPDThere are a few guitar pieces that, because of their structure, would
be of interest and maybe even beautiful on other instruments, but not
many. (Sor/Segovia 1 comes to mind.) Our very best pieces -- Falla's
"Homage" and Britten's "Nocturnal", for instance -- are lost without
the guitar, and without a guitarist who loves the sound of the guitar
for itself.
It's a question of fidelity to the original score and the projection of
fidely to the composer. So much of piano literature is out of reach of
a single guitar because of the guitar's limitations, but that doesn't
mean that a wholly suitable, and conspicuously modified version of a
piano piece can't be configured for guitar or multiple guitars. But
first one has to violate or dismiss the principle of fidelity to a
composer whose intent in this regard would be unknown, or if known
disregarded as irrelevant to the performers.
Similar is the task of bringing the comparative thimble-full of guitar
lit. to the piano.
--
Music is the best means we have of digesting time. -- W. H. Auden