Klarinet Archive - Posting 000178.txt from 1997/12

From: "Dan Leeson: LEESON@-----.edu>
Subj: Re: De Peyer
Date: Fri, 5 Dec 1997 12:40:32 -0500

> From: MX%"klarinet@-----.59
> Subj: Re: De Peyer

> Isn't that why we are suppose to study the composer and the time period in
> which the piece was written? For instance, the very short, very unheard of
> piece that I am doing for juries, Sarabande by William Corbett, is
> obviously a Sarabande, and a Sarabande is traditionally a grave and
> dignified dance in slow triple meter. If I played in one, like a waltz,
> or very fast and cheerful, I obviously wouldn't be playing the piece like
> the composer wanted it to be played. Am I correct or not? Also, the tempo
> marking, whether the notes are legato, staccato, marcato, etc., and the
> dynamic markings all give clues as to what the style is.

Are you suggesting that "style" is restricted to the matter of tempo
as in the example you gave above? I think you need to understand
the meaning of the words "performance practice" which is what I think
you mean to be talking about.

For example, the sarabande is not a dignified dance in the least. It
is slow, true. And it is in triple meter true. But the accent is
on the second beat and the dance was sexual in nature. Supposedly
some body movement occurred on the second beat that was to give the
impression of sexual congress. Now before you start talking about
style as limiting itself to interpretations of articulation types
and patters or to tempi, you first have to understand the nature of
the thing you are playing.

Style is a triple magnum of champagne, and you are talking about
a half cup of very bad white wine.

>
> ----------
> > From: Dan Leeson: LEESON@-----.edu>
> > To: klarinet@-----.us
> > Subject: Re: De Peyer
> > Date: Thursday, December 04, 1997 3:02 PM
> >
> > > From: MX%"klarinet@-----.77
> > > Subj: Re: De Peyer
> >
> > > Makes sense to me. It would be improper to play Dixeland music with
> the
> > > same tone and style as a Mozart ( for example) piece. The style that
> the
> > > composer had in mind should be strived for.
> >
> > That's a nice statement. Like motherhood and apple pie. But how do you
> > know what style the composer had in mind? Who decides that. Where is
> > the international style governing body who concludes what that style
> > is and puts out rules on it?
> >
> > Dan Leeson
> >
> >
> >
> > >
> > > ----------
> > > > From: J. Shouryu Nohe <jnohe@-----.edu>
> > > > To: klarinet@-----.us
> > > > Subject: Re: De Peyer
> > > > Date: Thursday, December 04, 1997 4:54 PM
> > > >
> > > > Sort of a reply to Dan:
> > > >
> > > > I shall first start off by stating that what I am about to say is my
> > > > opinion, and that's all. You may also consider it a vague shot in
> the
> > > > dark.
> > > >
> > > > While a tone should represent your voice, etc etc, I feel that a true
> > > > performer should know how to play with the correct, classical
> standard
> > > > that we constantly get pounded upon--"Why don't you sound like that
> all
> > > > the time???" and stuff. The reason I say this, is that as a
> performer, I
> > > > want the audience to hear my style, my voice, yes...but what they
> should
> > > > hear first is Mozart's voice, Rossini's voice, Weber's voice, etc.
> > > > I believe the personal creativity and uniqueness of playing should
> > > > NEVER come at the sacrifice of the composers original intentions.
> > > > Remember, oftimes some of the audience to don't come to hear Bob
> Smith
> > > > live with the Alabama Banjo Choir. They come to hear the works--the
> > > > music, not the performer, draws me to the concert. And I expect to
> hear
> > > > the music as it was written--as the composer intended. And the vast
> > > > majority of clarinet works written were written with the full,
> focused,
> > > > rich tone in mind. I feel if you do not play these works with such a
> > > > sound, then you are not doing the composer any justice--rather, you
> just
> > > > want to show off your fast fingers (as the case often is).
> > > >
> > > > Like I said, my opinion. I shall grab some fireproof clothing, as I
> do
> > > > not doubt that flames may surely be headed my way...
> > > >
> > > > Shouryu
> > > >
> > > > Coming soon! A whole new Dope-onna-rope! That's right! Shouryu is
> > > > changing EVERYTHING!!! A new signature with new and improved design!
> A
> > > > new web page with...>gasp<...USEFUL STUFF! Stay tuned in the winter
> when
> > > > Warm Up gets a whole new makeover!!! http://web.nmsu.edu/~jnohe
> > > > (This does not mean, however, that Shouryu has a girlfriend yet.)
> > =======================================
> > Dan Leeson, Los Altos, California
> > Rosanne Leeson, Los Altos, California
> > leeson@-----.edu
> > =======================================
=======================================
Dan Leeson, Los Altos, California
Rosanne Leeson, Los Altos, California
leeson@-----.edu
=======================================