Klarinet Archive - Posting 000360.txt from 1997/10

From: "Dan Leeson: LEESON@-----.edu>
Subj: RE: Brahms and Dan
Date: Fri, 10 Oct 1997 16:23:54 -0400

> From: MX%"klarinet@-----.37
> Subj: Brahms and Dan

> Just to follow up on Gary's comments about Brahms -
>
> I once attended a Master class with Karl Leister who commented,
> "Unless you're at least 35, you can't play Brahms; you haven't lived long
> enough." I totally agree even though I first played it when I was in high
> school (what arrogance! :-) ).
>
> Just look at it this way, he didn't write them until he was almost dead!
>
> A question for Dan - Don't you think most recordings (and therefore the
> musicians playing on them) are devoid of feeling?
>
> I find a continued emphasis on technique, technique, technique (the
> Juilliard model?) without any consideration towards musicianship.
> Personally, I strive to be a musician, not a clarinetist. This approach,
> IMHO, is much more difficult than making sure one can play every note in
> the beginning of Daphnis.

This is what I was alluding to when I suggested, at least with
respect to K. 622, that, with very few exceptions, there has not
been a performance since ca. 1800 that Mozart and his contemporaries
would have been able to identify as being stylistically consistent
with the period in which the work was written.

But I really can't speak intelligently about anything outside
of the 18th century. I am much more comfortable with the
way clarinet players of today deal with the romantic and
contemporary eras. I doubt if better clarinet players have ever
been turned out than are being turned out today. I have not
found the top players to be devoid of feeling. Knowledge yes.
Feeling no. I listen with awe to Sabine Meyer. Full of feeling,
it's awesome. But I question how much she knows about the music
that she plays so well.

>
=======================================
Dan Leeson, Los Altos, California
Rosanne Leeson, Los Altos, California
leeson@-----.edu
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