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With that thought in mind, why then are there so many fingers acting as "mini-pistons" insistently driving this composition ever faster? Traditionally called the "Minute Waltz", and originally timed as such, why is there such an urgency for the performer to produce a "flashing finish" (usually to elicit an overwhelming audience response)?
Technical studies abound in every music store, from "you name it" publisher for every instrument. Many of these studies from yesteryear may be "out of print", as the copyright has been lost. But, we are fortunate to have access to many of the technical studies that produced the musical ICONS who are no longer with us. Others find these studies and carefully present them to us; converting what has been written into what might be considered as our "'How To' treasure trove". Therefore, we are not abandoned to the attitude of "whatever makes one 'feel good'", and are made aware of period technicalities at our fingertips.
This then begs the following question: In today's fast paced world, has velocity become the manifestation of audience as well as self-assessment? In other words, does driving at maximum speed on the Autobahn speak to superior driving skills? Or is it all just adrenaline?
The use and need for unrestrained velocity in performance may be viewed as an attempt to hide the flaws in one's understanding of the nature and purpose of technical studies. Paraphrasing the old adage, "Learn the rules, break them later" should be analyzed and reviewed when planning repertoire for performance and/or musical enjoyment.
What then? Look for that special forest and "chop wood" until desired musical acumen is developed and heard.
Elevator Photo: "Hall y ascensor principal del edifice de oficinas en Chacabuco 78, Buenos Aires. Arquitecto Julián Garcia NÚÑEZ, año 1910". Public Domain via Wikimedia Commons.
