Klarinet Archive - Posting 000213.txt from 1994/01

From: Karen Noel-Bentley <karennb@-----.CA>
Subj: Re: Final comments to Karen Noel-Bentley and Charles Hillen
Date: Fri, 28 Jan 1994 22:31:28 -0500

On Tue, 25 Jan 1994, Dan Leeson wrote:

> So Karen and Charles, could you please amplify on what it was you meant
> when you spoke of 20th century performers and the difficulties of
> playing 18th century music with a contemporary mind set?

Sorry I'm responding so late; its been a busy week.

I don't dispute that a performer should learn as much as possible about
any piece he/she is playing. It is our obligation as intermediaries
between the composer and the audience to attempt to gain insight into the
composer's goals. But I also believe that most composers realize that
their music will be played by individuals from different locations and
(they hope) different eras, and that not every perfromance will sound
exactly as he/she had intended during the composition process. Most
composers I know are thrilled when I take the time and effort to put some of
myself into my performance of their works.

The art of performing includes not only a sensitivity to the composer, but
also a sensitivity to oneself and to one's audience. To me, this means
being convincing in my performance. Of course, "convincing" is a very
subjective term, but music, like all art, is subjective. My goal in
performing is to provide the audience with a memorable, and hopefully
positive, experience.

I know I'm digressing slightly from the subject of Classical performance
practice. All I'm trying to say is that when my performance of Mozart is
not completely "authentic," it is not because of laziness on my part, but
because of my desire to do the music justice by making it a part of me and
communicating this union to someone who wants to listen.