Klarinet Archive - Posting 000117.txt from 1998/07

From: <Maestro645@-----.com>
Subj: Re: [kl] Re: Mozart and the V word
Date: Mon, 6 Jul 1998 11:56:05 -0400

In a message dated 7/6/98 5:49:35 AM Pacific Daylight Time,
leeson@-----.edu writes:

<< Insofar as music coming from the heart, that is the kind of remark
that is heard from an amateur on the fringe of the music business.
It is a hollywood understand of music. Music comes from the head
and the heart has little to do with it.

In sum and substance, any performer who approaches K. 622 knowing
nothing about the practices of the late eighteenth century (those
practices governing how one approaches and performs works of this
nature) is simply arrogant.
>>

Dan:
You speak of other people being arrogant, but reread your first paragraph I
cut, please. That comment about if music is from the heart means that the
person is on the fringe was rather arrogant as well.
Take, for example, the second movement of the Mozart Concerto. Are you trying
to say that you shouldn't express yourself with slow, dreamy melodies?
(Forget vibrato for a moment.) I didn't think so. But the best expression
comes from your heart, because you want it to MEAN something. Playing
straight from your headmay be just fine and dandy, but pieces sound just
boring playing it straight. True expression DOES come from your heart.
You have been very bold in your comments, and you don't care whose feet you
step on. You are respected as a clarinettist, but for God's sake, have some
sensitivty! I understand you are very passionate about this subject (am I
correct in assuming that 18th century music is your forte?) but sometimes if
people want to do something you just don't agree with, just let them do it.
And if you run across that person in an audition, and you both do your own
things, and you get accepted, then you can think silently to yourself that you
were right, so that your pride isn't hurt.
This matter is always going to be debatable, so why don't we just put it to
rest? So what if there IS some documented proof on stylistic remarks? On the
other hand, they might be other talented clarinettists of that time who did it
differently, but never wrote it down.
Another example I can site is a comment from my piano professor. Take Bach,
for example. If there had been a piano with pedals in his day, he would have
wrote pieces for it, so why don't you just play his pieces on piano, and use
pedal wherever it's needed? It is stylistically with today's times, so just
combine old in new in an effective manner.
So with the concerto, if a person wants to use vibrato to express themselves,
just let them be. Obviously, you won't use jazz-style vibrato. (Mozart would
have God strike you down with lightning!) But if slight vibrato is wanting,
go for it, just use it tastefully. Then they can concentrate on making other
things in the 18th century style ( like trills), where they might value that
more important.
Well, I've probably said too much, and will probably be flamed (I can already
guess one person, and there might be another, depending if he reads this), but
I don't care. I just needed to vent. Just please remember, Dan, not to be so
arrogant yourself with your comments, and just let some people be.
Respectfully (at the risk of being flamed),
Chris Hoffman

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