Klarinet Archive - Posting 000603.txt from 1997/10

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: Further comments -
Date: Tue, 14 Oct 1997 22:52:01 -0400

On Tue, 14 Oct 1997, Leslie Andersen wrote:

> My comments about technique can be summed up as follows: A
> clarinetist once told me that he spent 8 years at least an hour a day
> trying to perfect Daphnis (my favorite example this week!) for orchestra
> auditions. How ridiculous! Correct me if I'm wrong (especially Dan) but
> the intention of that excerpt in my mind is to present a "wave" of
> continuous sound without regard to individual notes. Indeed, one does
> not want to hear the individual notes because it destroys the effect.
> Thus, why is that used as an "eliminator" in orchestra auditions?
> Because its convenient. Playing every note in that excerpt does not a
> musician make.

It is quite possible to play all the notes....that is why it is used as an
eliminator. It is a difficult piece, but if one does not have the
necessary technique to play that work, a major staple of the literature,
then probably will not belong in the professional orchestra.....that is,
the major ones and the next few down (Chicago, Philad., New York, Boston,
LA, St. Louis, American Symph., Oregon, Seattle, Minneapolis, Milwaukie,
Cinncinati, plus a host of others I can't recall).

> As to the comment, "it is possible to take a great technician with no
> musical sense and develop a fully professionally capable player," how
> sad that this is our standard of music today. Justifies my comments
> completely.

I'm not sure that is our musical standard today.....if someone said that
exactly, they would be incorrect. However, technique is an important part
of musicianship.

Roger Garrett