Transcription: Yukiko Kishinami e Kunikico Yamashita
Editor: Kunikico Yamashita
File measurement: four,5MB
Transcription from efficiency recorded stay on the Opera in Koln, Germany, January 24, 1975. Approved by Keith Jarrett.
Ever because the launch of THE KÖLN CONCERT recording on ECM in 1975, I’ve been requested by pianists, college students, musicologists, and others, to publish this music so others can play it. I’ve steadfastly resisted for at the least two causes: (1) this was a completely improvised live performance on a sure night time and will go as shortly because it comes; and (2) it’s virtually inconceivable to transcribe many sections as they’re on document. Nevertheless, since this improvisation already exists in a single everlasting format (recording), and the transcription solely represents the music (though it’s extremely shut typically), I lastly determined to publish this approved version.
By approved I imply that I’ve personally overseen each step (and virtually each word) of the ultimate transcription course of. Whereas this version is as shut as potential to the music on the report, there are numerous locations the place notes are right, however time isn’t, as a result of on the recording I’m enjoying utterly out of metronomic time. There are additionally locations the place we had to decide on between alternate inaccuracies. Additionally, we determined that notation would truly work towards accuracy, since not one of the notation strategies of which we have been conscious have been right for a lot of the piece. It will virtually want notation on each notice to be correct. For example, on pages 50 and 51 of Half IIa there isn’t any method to acquire, on paper, the actual rhythmic sense of this part.
There’s far more happening on the recording, however this “happening” doesn’t all the time translate into notes on paper. Many notes are inferred by the rhythmic sense; others rely upon the harmonics or assault of the earlier word (or notes). So writing down all of the notes would give extra of a false view of the sense of this part than choosing some notes. And but, even this choice can’t reveal the actual sense of this part as an improvisation, the place listening is what determines the music’s power.
So — we’re taking a look at, allow us to say, an image of an improvisation (type of like a print of a portray). You can’t see the depth in it, solely the floor. Because of all this, I’m recommending that each pianist who intends to play THE KÖLN CONCERT use the recording because the final-word reference. Good luck!
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