What Kind of Music Interpreter Are You?

00:00:08: Hello and welcome to the Inner Take podcast.

00:00:11: My name is Ramon Gardela, I'm your host.

00:00:14: The Inner Take is a podcast for musicians A space to talk about what happens inside us when we make music... ...the thoughts & feelings that shape how we play!

00:00:24: I will share my experience as musician What i've learned along the way And I'll talk with other musicians About their journey.

00:00:31: This podcast isn't about technique.

00:00:33: It's about what happened in us When We Make Music.

00:00:36: So if you are a musician, stay right there.

00:00:39: Welcome to The Inner Take!

00:00:41: Let's begin.

00:00:49: Hello everybody and welcome.

00:00:52: Thank You for being here and listening to the Inner Take podcast.

00:00:56: Today is episode eleven so we reached Episode Eleven And I'm happy as always To be with you.

00:01:04: Okay today i want talk about What I am and what many people who listen to these podcasts are.

00:01:10: And this is music interpreters.

00:01:13: So do we know what that is?

00:01:15: Because nobody taught me this at university, and i don't know about you.

00:01:19: Did You ever stop and think what it means To be a Music interpreter and what type you Are?

00:01:25: Probably not!

00:01:26: And most likely you were taught to improve as much As possible technically on your instrument Without being asked where you're going to go.

00:01:34: Also, you were probably taught that thinking about this takes time away from practice.

00:01:39: So we shouldn't do it right?

00:01:41: We feel... I also feel these things to have the feeling of losing your time if you take care of things which are not practising in your instrument And you know anyway It's like getting into a car and starting to drive without knowing where you're going.

00:02:00: The musician keeps improving his car more and more, but just to drive in circles.

00:02:05: So today I want to present the types of music interpreters that exist And see where you are today which kind of interpreter argue or maybe what you're going be as a Music Interpreter In The Future.

00:02:19: To begin this is important to understand that Music interpreters are musicians.

00:02:24: That means they have need for their life through sound And the interpreter has two things that composers and improvisers do not have in their daily work.

00:02:33: This is a piece they didn't compose, but a composer who composed it.

00:02:40: In this case I have to say sorry for my fellow composers and friends because i'm talking now about interpreters or players.

00:02:49: so people play music composed by others But of course we are talking personal stuff or an improviser, you're going to find also good material for your life because this is for musicians but we know that musicians are persons.

00:03:07: so... This is all the people who are interested in.

00:03:10: So!

00:03:11: We said a piece which didn't compose and it was composed by a composer.

00:03:16: The way the interpreter relates these two pieces into the composer whether they know them or not It defines what kind of interpreters there were.

00:03:24: First the objectives has when approaching the composer and the piece, define them as an interpreter.

00:03:32: And this is very important.

00:03:33: so... The objective you have with music or playing in a relationship to the composer defines which kind of interpreter you are.

00:03:42: So the book Music and Emotions talks about four types of interpreters.

00:03:47: These four types are mainly defined by the objectives each interpreter has.

00:03:50: As we said these objectives exist before the interpreter works.

00:03:57: it exists already in the person, and many times the musician does not know these objectives but still follows them unconsciously.

00:04:06: And as you now everything unconscious in us controls us.

00:04:10: It takes us and we end up being like puppets of something inside that we don't even know is there?

00:04:17: Besides the objectives There are other things to define each type of interpreter.

00:04:21: The first is way of practicing.

00:04:23: so were going talk how interpreter's practice, which aspects of the piece are included and in which they're not.

00:04:34: The idea for an ideal interpreter is very nice.

00:04:37: so what the interpreter thinks about their ideal interpreter?

00:04:41: So maybe if I ask you which is your ideal interpreter... And this idea that we have it interesting because its a relationship with you!

00:04:50: We will talk more about this further.

00:04:54: and the personal stage of development from which the interpreter acts and relates to music, so in which personal stage.

00:05:02: Let's go one by one!

00:05:04: The objective for interpretation means why is the musician playing on the performance?

00:05:10: So Why do you play?

00:05:11: Why are we practicing when talking about way-of-practicing ?

00:05:17: It means what is the goal during practice?

00:05:20: And this depends, of course on the objective of the interpreter.

00:05:23: So what do you want to achieve?

00:05:25: and You will practice to achieve that.

00:05:27: so it's very related What you want To Do because It says how do your practice?

00:05:32: let's talk now about The aspects Of the piece.

00:05:35: we have the technical aspect so This is the technique needed to play the piece.

00:05:40: We Have the analytical Aspect That Is where the musician Understands About the Piece.

00:05:45: and We have the emotional aspect so the emotions that the piece proposes, which the musician must feel experience and express.

00:05:53: Of course these aspects of the piece—these three things we talked about are connected to the aspects of The Interpreter.

00:06:00: so to connect with These Things of the Piece, The InterPreter must develop their own aspects.

00:06:06: For example, the technical aspect of a piece goes together with physical aspects of an interpreter.

00:06:12: Because all techniques are physical and if you need to learn in your technique You have to train and develop something physical for yourself.

00:06:19: The analytical aspect is connected to the intellectual development of the interpreter because analyzing means understanding and understanding is intellectual.

00:06:29: What can you understand about the piece your playing?

00:06:32: This is the analytical side.

00:06:34: And finally, the emotional aspect of the piece connected to the emotional or psychological development of the musician because you only feel emotions from a piece if you can fill in your own emotions.

00:06:46: so we are going see that when you're not connected with your emotional side You won't reach the emotional side.

00:06:54: These are the aspects, technical, analytical and emotional.

00:06:57: And then we have a concept of an ideal interpreter.

00:07:01: So what image does that interpreter have?

00:07:07: Again if I ask you for which is the ideal interpreter If you can imagine The ideal player We all have this image.

00:07:16: Maybe it's conscious or maybe not.

00:07:18: And if its' not conscious the interpreter may follow a model they actually don't agree with, but you have it in your head.

00:07:26: And so if you are going somewhere that you really want to go there.

00:07:33: You know what I mean?

00:07:34: and then we have the relationship with the composer.

00:07:37: also very interesting how the interpreter relates with the composer.

00:07:50: another thing that I'm going to talk about you, about collaborations.

00:07:54: But we are talking now mostly about pieces as were written before and the composers are dead.

00:08:00: so how do you relate with this?

00:08:03: for all of classical music?

00:08:05: That your playing music from people who aren't here anymore?

00:08:08: And How do you related these people although they're not hear?

00:08:12: So interpreters always have a relationship with composer even if don't know them or their death.

00:08:19: So we create an image of the composer.

00:08:22: It's like building a figure, and then we believe that the composer is really like this.

00:08:27: We say, I don't know, Brahms is like this... And it's like this!

00:08:31: so WE MAKE THIS IMAGE.

00:08:33: This affects a lot how we relate to the piece.

00:08:37: Now something very interesting where is the interpreter as a person in the psychological side?

00:08:45: Where he or she?

00:08:47: And this is the developmental stage of the interpreter.

00:08:51: We have three stages, The first one is childhood Second is adolescence and third is adulthood.

00:08:58: In each stage the reference point is different.

00:09:02: Remember that it's a reference point.

00:09:04: For example in childhood the reference points are someone bigger than their child.

00:09:09: The child wants to satisfy them.

00:09:12: In adolescence they want something bigger.

00:09:15: So in adolescence gets about challenge, a big thing.

00:09:20: A big object.

00:09:22: and In adulthood the reference point is oneself.

00:09:25: so they adult takes from others what I think it's good And lives well as not with that.

00:09:32: They make their own path.

00:09:34: now we will see how each interpreter works From different stage until here Is to introduction?

00:09:41: What aspects are We're going to analyze in each interpreter.

00:09:45: I'm so looking forward to hear what do you think when you hear this, if can feel identify in these interpreters.

00:09:54: The first is the interpreter as a machine!

00:09:58: The main objective of this interpreter it's not make mistakes and performance And many interpreters are not aware about this and even denied.

00:10:08: So they say no This isn't my goal.

00:10:12: Being like a machine is seen something negative but probably because nobody wants to admit it.

00:10:18: So after playing the interpreter feels good if they didn't make mistakes and bad, if they did... And many times what affects them is not all of their mistakes But one specific note or passage where I think that should NOT fail.

00:10:33: so they focus on this mistake and ignore All those notes.

00:10:37: played well!

00:10:38: They ignored everything they could do.

00:10:44: They think they shouldn't fail.

00:10:47: The musician lifts the stage thinking only about technique, the way of studying this machine.

00:10:53: They study to avoid mistakes and use almost all their energy on Technic and nothing else.

00:11:02: The aspects included or not included focus on Technics, feel the waste time if you work with other aspects.

00:11:12: but they feel guilty when working on them and think, I will work later if the technique is ready.

00:11:18: But you and me know that moment never comes!

00:11:22: The aspects of themselves or musician itself live two important parts which are intellectuals and emotional.

00:11:31: And this creates emptiness, boredom even exhaustion in practice and your musical life.

00:11:38: They have a concept of ideal interpreter, someone who does not make mistakes even if they don't understand or feel it's just.

00:11:46: the objective is NOT to make mistakes.

00:11:49: The relationship with the composer is respectful but it's distant... ...they think their job is to play exactly what the composer wrote.

00:11:59: Of course talking about technique because other aspects are out this equation.

00:12:04: if they make mistakes, they feel that they are disrespecting the composer.

00:12:08: You know this phrase when you said... The composer must be moving grave because he is dead and hearing what we're playing but there's going to be bad with him or angry.

00:12:23: This relationship was built by imagining an angry composer.

00:12:27: so someone who suffers makes a mistake.

00:12:31: How, how do you build an image like this?

00:12:35: Why do you think the composer will be angry and not thankful?

00:12:40: because we're playing their music so many years after death although You'd do mistakes.

00:12:45: I don't know.

00:12:46: So in which stages of life is this interpreter?

00:12:51: well they are in childhood Because They feel they did something wrong.

00:12:56: if they make mistakes they feel guilt.

00:12:59: they think In terms or right wrong good and bad.

00:13:03: They need approval from someone bigger, teacher conductor colleague or even the composer.

00:13:10: they are like a submissive child looking for approval.

00:13:13: The second type of interpreter is their reproducer.

00:13:17: so they play the piece as it should be played And this phrase As always very clear.

00:13:24: It should be like this You should play the best like this.

00:13:27: This includes Of course not making mistakes and also following dynamics, temp articulation etc.

00:13:32: But this how it should be played comes from someone else And This is very important to understand about these interpreters the teachers a recording in environment or What they think others expect says today interpreter?

00:13:46: How It Should Be Play The way of studying.

00:13:49: yeah They started too much that model.

00:13:51: they include the aspects mainly technical with some simple analysis.

00:13:56: so not making mistakes is also very important and they are aware of other things like tempo changes, dynamics articulations.

00:14:06: so there a little bit more specific that the interpreter as machine.

00:14:11: The emotional aspect it's not included.

00:14:13: It includes technical aspects And analytical aspects because they're aware about dynamic but not really with serious deep.

00:14:26: The concept of ideal interpreter.

00:14:28: for these interpreters is the perfect reproducer, someone who can copy exactly what they are told.

00:14:34: They see that piece as something fixed and always the same.

00:14:38: Their relationship with a composer is similar to before but influenced by their teacher.

00:14:43: so they see the composer through whatever others say.

00:14:47: So...the other tell the re-producer How the piece should be played and how is the composer?

00:14:54: So, on this stage in life.

00:14:56: This childhood again because they obey And I feel guilty if they don't The number three is their rebellious interpreter Their rebel!

00:15:06: And the objective Is to play how They think.

00:15:08: feeling is something spontaneous It's Something changing not To Be analyzed or questioned.

00:15:15: The way of studying mostly just Play without deeper work, and mostly one run-through of the piece.

00:15:23: And this is it!

00:15:24: The emotional aspect here is included – of course but in a very superficial way.

00:15:29: Technical analytical aspects are not included... ...and the concept of the ideal interpreter….

00:15:35: …is the romantic musician you know?

00:15:37: This image as free no pressures full of emotion.. ..and when we talk to people that aren't musicians they think musicians You're free, you have no pressures.

00:15:49: You are full of emotion... ...you can express and make music And they think it's so easy.

00:15:55: but we know how hard is to be a musician or to make music.

00:15:59: So these interpreters have relationship with the composer.

00:16:02: They say that they respect the composer But their work does not show them.

00:16:08: Because they don't respect what the composer has to say because just play as he feels a deep analyze or they don't work on the technique to play things that composer wrote.

00:16:20: They make it like how they feel and this is very interesting, The life stage of these people are adolescents because they act against authority teachers composers institutions.

00:16:31: what really drives them It's not freedom but opposition To Authority And This way Of Working Is Often A Defense Not A True Choice Defending themselves.

00:16:42: They are fighting against authority, against the peace.

00:16:46: I feel like this and i play it Like This And you know...I'm not thinking how It should be or something.

00:16:53: The last one is the interpreter as a re-creator.

00:16:57: The objective of this interpreter Is to experience and express the deep emotions Of the Peace.

00:17:03: So Experience & Express!

00:17:05: This interpreter includes all aspects and decides for Themselves.

00:17:10: They take music very seriously and this is like a child takes place, creating their own world.

00:17:15: And not worrying about what others think the way of studying.

00:17:20: well they study to connect deeply with themselves under peace.

00:17:24: This makes practice meaningful than very rich.

00:17:27: .They are very much looking forward To practice because...they find practice very interesting Because it's time when you can connect With things that want to say and express Through the piece and through the composer.

00:17:42: The aspects included are three technical, analytical and emotional.

00:17:47: And the emotional aspect is a goal and the technique and the analysis Are tools!

00:17:53: The interpreter has all his aspects Included.

00:17:58: The emotional, the analytical, the technical... ...and concept of the ideal.

00:18:03: interpreter Is re-creator.

00:18:06: A piece does not exist without someone who recreates it.

00:18:10: Playing means re-creating something that already exists, and even if a composer plays his or her own piece they are re-creating the piece!

00:18:21: And this is very interesting.

00:18:23: you need somebody to recreate what he wrote.

00:18:27: The relationship with the composer... ...is deep and loving because they want to understand as much as possible and they respect the composer by embracing them.

00:18:39: And in this embrace he, interpreter changes... ...and the composer also changes because in these embraces both change and you have this development on both sides.

00:18:53: staging life as adulthood.

00:18:55: They listen to others but decide for themselves.

00:18:58: The understand that their main relationship is with peace not other.

00:19:04: they understand that music is not a means but an end.

00:19:08: They accept something important, solitude An essential Solitude.

00:19:13: That Is Part Of Being Adult!

00:19:15: They take responsibility for themselves and their Music.

00:19:18: On That Is Their Reference.

00:19:20: Okay It's A Lot of Information I Know For Me When I Read All The Things And I Prepared This Podcast it Was Very Interesting To Know Where I Am As An Interpreter.

00:19:34: What are my goals when I play?

00:19:36: what do i see in some other people?

00:19:38: and of course, When you know this And you think interpreter as a machine.

00:19:44: Mostly if your studying If you're on the conservator or have fellow students You can't see these.

00:19:49: Concentrate it just not missing a note.

00:19:54: The people who says that they should be played like this This reproducer And then the adolescence.

00:20:03: So, The Rebel who says I'm playing like this and i don't care.

00:20:08: This is what I feel.

00:20:08: when do it You know?

00:20:10: I also met a lot of people Like this!

00:20:12: Then last one Of course... The Ideal interpreter so A person that can have all these aspects.

00:20:19: This for me is a goal.

00:20:22: I think Nobody Is like this if they dont learn It because the system's institutions They teach us, as we said to spend all the time possible with your instrument.

00:20:34: So the aspects... As a person that you have to develop You have to build it and learn it And work for it.

00:20:41: I think this is very interesting thing To say.

00:20:45: where am i now?

00:20:47: Where do i want go?

00:20:48: Am i recreating alot or nothing?

00:20:50: Or am i just concentrating on playing without mistakes?

00:20:54: Because if u can CDs you can understand a lot of what you are.

00:20:59: and why do you feel how?

00:21:00: You feel I see people who has very important Workplaces in orchestras, and the course And they're bored.

00:21:09: They don't want to play anymore because there's all time playing things There already written and they have a version and they receive the notes.

00:21:21: The creativity is not their or it's not in the amount that connects you with your music.

00:21:27: I'm not saying all orchestra people are bored, but i see very often... ...people with really good jobs and jobs they looked for!

00:21:38: They've really fought for them In a kind of, you know, boredom?

00:21:41: In a kinda-I don't want to play this anymore let's play this again, you know in this kind of routine thing.

00:21:48: that is not very good.

00:21:49: So I invite to hear from these episodes and think about where are we?

00:21:55: Where do want go or how can identify those aspects?

00:22:00: maybe bring some new more daily practice because the objective they have make music it's the object.

00:22:08: if your seeking searching in practice its all like a line And this is very interesting.

00:22:17: Thank you for listening to me, and I hope that we are doing well!

00:22:21: I'm looking forward to hear from you.

00:22:23: if you want to contact or write me... You know where to find me!

00:22:28: Thank you and bye-bye!

00:22:35: If something in this episode resonated with you, I invite you to take a look at mental notes.

00:22:40: The link is the description.

00:22:42: there You'll find texts videos and short resources that can help you explore these ideas further And most importantly spaced to talk about them.

00:22:52: Thank you for taking the time to listen to me.

00:22:55: see you next time.

00:22:56: Take care of yourself.