Klarinet Archive - Posting 000807.txt from 1998/04

From: GTGallant <GTGallant@-----.com>
Subj: Re: circular breathing
Date: Wed, 15 Apr 1998 22:44:25 -0400

In a message dated 98-04-15 21:26:36 EDT, you write:

<< To circular
breathe at the expense of the musical line being a tremendous run on like
is mentioned in a previous posting, and used in this sentence; is bad.
But, used effectively, like John Cohler in his recording of Paganini's
Perpetual Motion - is artistry! >>

I believe the exact opposite is true. Most wind music I've heard is ruined by
terrible disruption of the musical line by BREATHING. If composers want a
breath taken at a particular spot, they specify in the score - an expressive
breath, if you will. The breath mark serves as a brief pause (most of the
time), not an actual breathing indicator. Otherwise, breath placement is up to
the performer. It is very limiting to discard circular breathing, just as it
would be to not learn how to tongue, use vibrato, or play a C major scale. As
for the Cohler thing, I don't think his circular breathing on Moto was
artistic. It was a necessary technique or device he needed to pull the piece
off. It would be better to say his musicianship and phrasing were artistic.

If sombody puts a difficult technique down (or a player who can do them), 9
out of 10 times, that person is jealous and a weak player, IMHO.

P.S. - I had to add a little controversy!

   
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