Klarinet Archive - Posting 000745.txt from 1998/02

From: Pauline Minevich <pminevic@-----.net>
Subj: Re: Working with singers
Date: Thu, 19 Feb 1998 23:40:05 -0500

I understand what you mean about the license that some singers
take with music. On the other hand, I think that instrumentalists can be
too rigid with interpretation. Orchestral training can make us too rigid
with repertoire that requires flexibility. I love working with singers (I
seem to play Schubert's Shepherd on the Rock at least once every couple of
years), and I enjoy the way they feel Schubert's long phrases, it makes me
think again about my too-square phrasing. After all, many composers have
written for clarinet because they liked its vocal quality! Strict,
metronomic playing certainly has its place, but I think not in all
repertoire.
Pauline Minevich, Ph.D
Wilfrid Laurier University

On Wed, 18 Feb 1998, Daniel A. Paprocki wrote:

> I'm doing a recital this April with a soprano. This is the first time I'm
> working with a singer. I'm curious if others have had the same experience.
> My observations are:
>
> dim = ritard
> end of phrase = ritard
> rit = ritard 2 measures early than ritard alot
> approaching a rest = ritard
> when in doubt = ritard
>
> This soprano has a fine voice and is a good musician but I've never seen so
> much rubato with a tempo. Maybe I should qualify myself - I had just
> finished a weekend doing Bartok Miraculous Mandarin so my internal
> metronome and rhythm machinery was honed to a fine edge. What have other's
> experiences been with singers? Is this an isolated event? I know every
> soprano out there is going to flame me.
>
> Dan
>
>
> *********************************************************************
> Daniel A. Paprocki
>
> Instructor of Clarinet & Music, Malone College
> Adjunct Professor of Clarinet, Kent State University - Stark Campus
>
> dap@-----.net
> **********************************************************************
>
>
>