Interpretation as a stretching.

Music is hard thing to be analyzed. I can give some mathematical explanation to it, compute the number of dotted notes etc, but that can still leave me with empty hands. Still - music can be taken as a structure. It can be destructive to play music as a rigid structure, without inspiration or emotion in it.

Being aware of such danger's I still like to explain music to myself as a structure. This can be the characteristic feature of capicorn-people, which I am, person, who just loves structures.

There is problem in classical music - mathematically exact interpretation is dead. There must be done some changes to it, some additional pauses between sections, phrases or even notes themselves and some tenutos, adjustings of note-durations here and there.

Stretching  the notes

Here is representation of notes in sheet music at first line. This is rigid structure. This kind of music sounds at popular radio-stations. Notes are glued to ruthless grid. For classical music It's unsuitable for sure.

In classical music we have to "strech" the notes somehow.

On the second line there is one way of doing it. Giving extra time to hole between sections. It's like the sport's commentator, who has swallowed gum and gives unexpected pause, which can be taken as mistake. It is mistake, because it sounds like mistake, it sounds, like something is not right.

If you are playing in a manner which is not suitable for extra pauses, those pauses sound like mistakes.

In third line there has be done some effort to fix this problem. by destroying the rigid order in smaller units. But It's done unsystematically. Result is something that resembles the classical guitar interpretation nowadays. It's like a drunken sailor's speech. with unexpected pauses and augmentations in It. It can be described as "giving the importance to notes". But when there is no system behind it, It is infertile task.

Fourth line is something adorable. Notes are is divided into two categories - those, which are modified and those which are not. In such way player can form a convincing character.

It's important to understand and clarify those tights in music which must stay intact and those, which can and must be modified. For example -  the length of the third beat in valse gives characteristic "weightless feeling", this is something essential. Such things must be taken into account if someone wants to play "real classical music" instead of "toy-music".

Andres Segovia's effort

After the horrible war, WWII people were yearning for something human. Warm, human sound of classical guitar started to be needed by masses. It was the Segovia's time. He wanted to bring the classical guitar from toy-corner into real stage beside the violin and piano. But He failed. Those weird pieces which main virtue was not sounding like guitar music (and therefore giving bringing guitar onto "new level"?) do not automatically rise the quality of interpretation.
The main reason is the lack of interpretation skill among classical guitar players. I can hardly find any classical music structure in CG recordings. I do not remember listening to someone playing valse as valse, not the strange sequence of tricky notes.