Well, I haven't performed this song, and these might be just as well
construed as additional questions rather than answers. Just some thoughts
based on my own observation and performance of sacred literature.
Basically I would summarize by saying avoid going over the top with added
interpretive gestures or coloring. Remember a lot of what is needed is *in*
the music. The pathos and sorrow over sin is in the music. The joy and
liberation of mercy and forgiveness is in the music. It's too easy
sometimes to get caught up in interpreting these songs, and finding
yourself struggling because the music and the other stuff are not
supporting each other. Put the musical expression first, with sensitivity
to dynamics and beautiful phrasing and it can be surprising how much
interpretation is there already. Then let (rather than make) the moods
show in your face, serious for pieta, and let some elation show for the
gift of mercy (as I recall, the music builds and ascends there).
Thanks,
Karl Rasmussen
krasmuss@v...
|
|  |
