Carter rabato hakkında ne dedi? (Bunun bir çeviri olduğunu varsayın)
Carter: “Nadia Boulenger also held to what was considered important in the 1930s and ’40s, the notion of maintaining a very strict, almost rigid tempo in the course of a piece. She used to imitate the way in which Paderewski played Chopin, keeping the left hand, the waltz or mazurka rhythm, very strict and with the right hand playing a kind of rubato. She pointed out how this rhythmic drive, so characteristic of Stravinsky, gave music a type of dramatic character and power that it would never have if it were played with the kind of rubato favored by many performers, which she was always deploring; even in illustrating to us the most Romantic music, she would give it a strong rhythmic propulsion. Although there might be slight variations and slight rubati within the small phrase, the big sense of rhythmic progress was something she treasured very deeply and encouraged us all to appreciate.”