Klarinet Archive - Posting 000191.txt from 1997/12

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: De Peyer
Date: Fri, 5 Dec 1997 12:40:45 -0500

But Tahna,

I think what Dan was trying to point out is that, short of a letter or
some specific reference to a specific work that spells it out, there is no
way (study of composer, time period, etc.) to know for sure what the
composer had in mind.......if he didn't write that information down - for
example, if Mozart had written to a dear friend...."I recently wrote the
XX concerto for Clarinet, and originally thought of a 32 Key Clarinet with
a tapered bore and undercut tone holes with a dark sound and a thick reed
- no edge - just a beautiful warm, chocolately color about it....blah blah
blah" - we would still be somewhat in the dark as to what he wanted. He
never wrote that kind of stuff down in any great detail....and we don't
even know if dark meant what WE hear as dark today.....(what is dark
anyway????).

Yes indeed, study study study so you understand performance practice, but
we still will not know absolutely what Mozart or any other composer of
prerecorded history had in mind unless they wrote down specifically what
it was.

Roger Garrett
IWU

On Thu, 4 Dec 1997, Tahna Britton wrote:

> 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.
>
> ----------
> > 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
> > =======================================
>