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8:35 PM
@AndyBonner Reading your response again after writing the above and reflecting some more, I think we are in fundamental agreement. When my extrovert wife gives violin performance feedback to our now teenage child she almost exclusively speaks about presence, confidence, facial expression, looking at the audience when appropriate, etc. while I almost exclusively speaks about intonation, phrasing, articulation, dynamics, etc.
 
9:29 PM
Sometimes I accompany my child on the piano and we make a video out of it. I can see how I too, can add some physicality to my part especially when the violin is the one accompanying.
In one recent project we play Jesu, Joy of Man's Desiring Myra Hess's transcription 2 times: first time the violin doubles the soprano, the second time the violin plays the 1st Oboe d'amore part.
 
9:47 PM
We play it much faster than Myra Hess herself, closer to what purpotedly historical tempo (MM 84 per beat) following this performance, so it's a little challenging for me because the transcription wasn't written for that speed.
As for audience expectation for showmanship, if we do my organ professor's philosophy of performance, they TOO need to play their part in the friendship. A friend has the duty to give space for the other friend to communicate his/her heart, in this case performing an interpretation that has been polished into a work of art.
Without the inteligent and focused listening in silence, it's like being rude in a conversation where you are doing a speech but they ignore what you're saying or multitask with their phone. I get it that a lot of people go to a concert for the social aspect of it, or worse, to enjoy the visual than the music. To me it's a cultural education challenge that we musicians can contribute through making classical music appreciation more accessible.
 

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