Visual impact on music making

Ingerine Dahl


Visual impact on musicmaking


It was when i started working on the Absolutt Schubert-project I started really noticing how empty and square the standaard urtext editions had become. I found so many things to be missing...clues about frasing, timing..even the mood of the various sections. Especially after I had a peek at the fragments scribbled down by Franz himself on various items of paper, napkins and what-not.

It had struck me before and almost with a numbing effect. It was the first time I saw the handwritten parts of J.S.Bachs Sonatas and Partitas. Having studied hard the clean and tidy and spacious Galamian edition I had a peek in the back of the book where the original score is copied. My goodness...I could´t believe its the same pieces. All the tempos looked different, almost all the slow movements seemed to invite a faster more dance-like tempo. And the clues for frasing and articulation is mind-blowing! Such a reservoir to feed the imagination!!! And I had been following the dry and square instructions for what seemed to be all my life!

With Bach it seems to be clear for many to play from the beautiful score.

With Beethoven and Schubert it proves pretty impossible to actually play from their they are mostly in a mess and or in pieces. But when you do study them, and I don´t mean in a dry scholarly way. I mean you draw from the inspiration, the enormous amount of energy which went onto those signs, it gives you again food for imagination. Its wonderful, and I am now hunting down these wonderful manuscripts for everything I play. It makes no sense with a cleaned edition, then a fragment is of more use.

I hope to be able to draw the lines to visual arts and maybe do a collaboration based on visual and audio inspiration.