Conception is a generic term and comprises the service of each and all means of expression, among which rubato plays a somewhat prominent part. For it is, so to speak, the musical pulse-beat of the player. Being subordinate to conception, its function and manner must be governed by the latter.
[CONCEPTION]
Different Conceptions May be Individually Correct
Can one and the same phrase be conceived differently by different artists and still be individually correct in each instance?
Certainly! Provided that—whatever the conception be—it preserves the logical relations of the parts in building up the phrase, and that it is carried through the whole course of the piece in a consistent manner. Whether a certain conception of a phrase is or is not compatible with the general character of the piece and how far the freedom of conception may extend, it will be for the æsthetic training and the good taste of the player to determine for each and every case separately.
Which Should Come First—Conception or Technique?
In the first attempts at a new piece must matters of conception be observed at once or only after the piece has been technically mastered?
Unless one is a very experienced reader it will be hardly possible to think of matters of conception until the technical means to express them and the necessary perspective of the piece have been gained. It is always safer first to make sure that the notes as such, and their respective times value have been read correctly, and that the technical difficulties have, to a fair degree, been overcome. This done, the question must be settled as to whether the general character of the piece is dramatic, i. e., tragic or conciliatory, melancholy, lyric, rhapsodic, humorous, or changeable, and so forth. Only when our mind on this point is made up with the utmost definiteness, can we approach the details that are conditioned by the conception.
[FORCE OF EXAMPLE]
Hearing a Piece Before Studying It