Published by Justin Lewis-Anthony on 31 Jan 2011
Just playing the notes
In 1945 the American Military Occupation in Japan invited the distinguished conductor Richard Franko Goldman to visit the country and conduct some highly skilled Japanese orchestras. At first rehearsal he began to conduct the orchestra in Beethoven’s “Egmont Overture”. After five minutes he stopped the rehearsal, horrified. “What was the matter?” asked a later colleague. “They were just playing the notes.”1
It’s an interesting idea. Following the score accurately and skilfully isn’t enough. To produce music-in-sound worthy of the music-on-paper something more is required. For Goldman what was missing in his technically adept Japanese bands was a tradition of interpretation: “I know the score says you have to play these notes, but to make music, you have to play the notes in this way.”
I’m sure there is some parallel here with the atheist “interpreters” of the Scriptural and Theological inheritances of Christianity: just look at the lower reaches of the comments in the Guardian’s Comment is Free Faith blogs— “This is the plain meaning of the words. Isn’t it ridiculous?”
Just playing the notes does not compensate for the tradition of interpretation being missing. Just reading the words doesn’t work if you have no idea how the words are to be performed.
- The anecdote in related in H. C. Robbins Landon, Haydn: The Years of ‘The Creation’, 1796-1800, Haydn: Chronicles and Works 5 (London: Thames and Hudson, 1977). p. 396 [↩]
It’s not often that the Acknowledgements page of a book brings one up short, but the first line of John Kiser’s The Monks of Tibhirine

