Klarinet Archive - Posting 000407.txt from 1994/11

From: Heather Joy Bridges <hbridges@-----.EDU>
Subj: Fw: Re: Listing to the recording first
Date: Tue, 29 Nov 1994 15:53:40 -0500

From: "William A. Helmers" <reedman@-----.EDU>
Tue, 29 Nov 1994 13:21:20
Re: Listing to the recording first

>Listening to a recording as a means of preparing for a performance is an
>interesting topic. No clarinettist lives in a vacuum. We are all
>influenced to some degree by other musicians, whether they are clarinetists,
>teachers, conductors, singers, or whatever.
>
>The problem for a musician (especially a student, or inexperienced
>performer) is that listening to a recording early in the process of learning
>a new score tends to rob that person of authority. Often, the artist on the
>recording will be quite well-known and successful, making it likely that a
>less experienced player will find the recording to be an attractive model.
>The result is often a form of musical plagiarism. If even a seasoned
>performer can be influenced by a fine recording by a Harold Wright or Karl
>Leister, what chance does the young musician have to assert their own point
>of view?
>
>My recommendation would be that a score first be thoroughly prepared before
>consulting a recording. At least this way, the musician's own ideas will
>have had some time to develop independently. Another possibility might
>be to listen to a different instrument: If a clarinetist is preparing a
>Spohr concerto, for instance, why not listen to a Spohr violin concerto with
>Heifetz? Working on Schubert? Try listening to a singer.
>
>In the end, the successful performance will be the result of a strong point
>of view by the performer. One can never eliminate the influence of other
>performances, but recordings must not rob us of our own point of view.

Good point! I never really thought of it that way, but it makes sense-
thanks!
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Heather Joy Bridges
hbridges@-----.edu
Virginia Tech
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