Klarinet Archive - Posting 000275.txt from 1997/12

From: Alan Stanek <stanalan@-----.edu>
Subj: Re: klarinet-digest V1 #473
Date: Mon, 8 Dec 1997 13:14:44 -0500

klarinet-digest wrote:
>
> klarinet-digest Friday, December 5 1997 Volume 01 : Number 473
> ICA Score Collection - Questionnaire
> RE: ICA Score Collection - Questionnaire
> Re: De Peyer
> ----------------------------------------------------------------------

> From: Alan Stanek <stanalan@-----.edu>
> Subject: ICA Score Collection - Questionnaire
>
> Dear Klarinet Members:
>
> The Board of Directors of the International Clarinet Association, in
> response from the ICA membership, has been exploring the possibility of
> having the ICA Score Collection available via an online catalogue from
> the University of Maryland's Library (where the collection is housed). I
> am wondering about how many clarinetists have web access and would use
> this resource were it made available. BTW - there are over 6000 items in
> the score collection. These can now only be checked out by ICA members,
> and students, faculty and staff of the Univ. of Maryland.
>
> If you have web access and would find an online catalogue of the ICA
> Score Collection something useful, would you please e-mail me privately?
> Posting your preferences on the Klarinet List is ok too. My e-mail
> address is: stanalan@-----.edu
>
> Cheers!
> - --
> ======================================================================
> Alan Stanek, Professor of Music/Chairman at Idaho State University
> Phone: 208-236-3108; Fax: 208-236-4884; E-mail: stanalan@-----.edu
> http://www.isu.edu/departments/music
> President, International Clarinet Asociation http://www.clarinet.org
> Come to ClarinetFest '98 - The Ohio State University, July 7-12, 1998
> http://www.arts.ohio-state.edu/Music/Clarfest
> Make plans for ClarinetFest '99 in Ostend, Belgium, July 6-11, 1999
> http://www.bitsmart.com/ClarFest99
> ======================================================================
> Date: Fri, 05 Dec 1997 08:57:10 EST
> From: "Dan Leeson: LEESON@-----.edu>
> Subject: RE: ICA Score Collection - Questionnaire
>
> > From: MX%"klarinet@-----.83
> > Subj: ICA Score Collection - Questionnaire
>
> > Dear Klarinet Members:
> >
> > The Board of Directors of the International Clarinet Association, in
> > response from the ICA membership, has been exploring the possibility of
> > having the ICA Score Collection available via an online catalogue from
> > the University of Maryland's Library (where the collection is housed). I
> > am wondering about how many clarinetists have web access and would use
> > this resource were it made available. BTW - there are over 6000 items in
> > the score collection. These can now only be checked out by ICA members,
> > and students, faculty and staff of the Univ. of Maryland.
> >
> > If you have web access and would find an online catalogue of the ICA
> > Score Collection something useful, would you please e-mail me privately?
> > Posting your preferences on the Klarinet List is ok too. My e-mail
> > address is: stanalan@-----.edu
> >
> > Cheers!
>
> Alan Stanek's memo uses the word "scores" in a way that is very
> consistent with the Univ. of Maryland's use of the term, but not
> consistent with the way most clarinet players and other musicians
> use that word. Let me see if I can clarify that a little.
>
> I recently completed donating my entire clarinet library to the
> ICA collection and I noticed that each time I donated a work
> for (for example) clarinet and piano, or even solo clarinet, I
> received a letter of accession that referred to the item as
> "a score." On questioning that term, I received a nice note saying
> that this is what they were called. And that's OK with me, now
> that I came to understand what a score was.
>
> So the statement that the collection has 6,000 scores, means that
> it has 6,000 works for clarinet, each of which may be a set of
> performance parts, or an orchestral conductor's score, or even
> a single clarinet part for an orchestral excerpt.
>
> I think my collection was about 1,000 pieces (read, "scores") but
> I am sure that some number of them were simply duplicates of what
> holdings were already in the library. Probably no more than about
> 250 scores were not present in the ICS library before I donated
> them, and even that number is an estimate. For example I am sure
> that the ICS library had 250 copies of each of the Brahms sonatas,
> so my donation of those works does not constitute something distinct
> in terms of the overall count.
>
> But I don't think that the ICS library had Waldern von Baussnern's
> trio for violin, clarinet, and piano before I gave them the
> "score" of that work which consists of three performance parts,
> violin, clarinet, piano.
>
> I just felt that the term "scores" was not self-installing.
>
> =======================================
> Dan Leeson, Los Altos, California
> Rosanne Leeson, Los Altos, California
> leeson@-----.edu
> =======================================
> Date: Fri, 5 Dec 1997 10:00:39 -0700
> From: "Tahna Britton" <tahnab@-----.com>
> Subject: Re: De Peyer
>
> Okay, I understand this, that's very true and a good point. Performance
> practice is a good way to get a start on what the composer had in mind when
> writing the piece though, isn't it? It's a good place to start determining
> what the style of a piece should be, even if we can't be sure exactly what
> the composer had in mind.
>
>From: Roger Garrett <rgarrett@-----.edu>
>To: klarinet@-----.us
>Cc: leeson@-----.edu
>Subject: Re: De Peyer
>Date: Friday, December 05, 1997 6:54 AM
>
>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.
> >
> > > > =======================================
> > > > Dan Leeson, Los Altos, California
> > > > Rosanne Leeson, Los Altos, California
> > > > leeson@-----.edu
> > > > =======================================
> End of klarinet-digest V1 #473
> ******************************

--
======================================================================
Alan Stanek, Professor of Music/Chairman at Idaho State University
Phone: 208-236-3108; Fax: 208-236-4884; E-mail: stanalan@-----.edu
http://www.isu.edu/departments/music
President, International Clarinet Asociation http://www.clarinet.org
Come to ClarinetFest '98 - The Ohio State University, July 7-12, 1998
http://www.arts.ohio-state.edu/Music/Clarfest
Make plans for ClarinetFest '99 in Ostend, Belgium, July 6-11, 1999
http://www.bitsmart.com/ClarFest99
======================================================================