Klarinet Archive - Posting 000711.txt from 1998/07

From: "Dan Leeson: LEESON@-----.edu>
Subj: [kl] Mozart's ban vs cl concerto
Date: Tue, 21 Jul 1998 23:41:46 -0400

An unsigned posting on this subject devoted itself to a question from
Ed Lacy. All I know about the poster is that she (and she must be a
woman because she said that she sang Porgi Amor or Dove Sono or one
of the female arias) plays saxophone and played the bassoon concerto
on it, though not in public. I am not unhappy that she plays the
bassoon concerto on the saxophone, but I am very unhappy that she does
not sign her posts or identify herself in some way.

The basic thrust of the note was to offer the view that the bassoon
concerto is a work that is inferior to the clarinet concerto, and that
is an opinion which she is entitled to hold. She cited Zaslaw as
support for her contention and made several other remarks that led me
to believe that she felt that her statement was bold enough that it had
to be substantiated.

This is the central issue of my note; i.e., the claims of musical
superiority of this piece over that piece.

In music, the only thing that one is permitted to speak on with
absolute authority is how one is affected by a work. It is perfectly
permissable to suggest that the clarinet concerto is a better work
than the bassoon concero, but only if accompanied by the phrase,
"FOR ME THIS IS TRUE."

It does not matter what Neal Zaslaw says when he speaks of the inherent
beauty of a work of music. It matters very much when Neal speaks about
history, form, the place of a work in the overall scheme of things, etc.
In effect, when he speaks on technical matters, he speaks from a position
of authority. When he suggests that this work is "the finest" wind
concerto, he is speaking only for Neal Zaslaw, and the poster of the note
(the unidentified saxophonist who sings Dove Sono) is well within her
rights to stand up and spit in his eye sayings, "That is absolute doo doo,
for as far as I am concerned, 'Turkey in the Straw' is a much finer piece
than either of those two.

You and I might be surprised by such a position, but it is absolutely
true for the person making it.

There is no standard of beauty whereby two works can be compared. One
cannot measure emotional impact. If one could, we could have a contest
to find the very best piece ever written.

Is the Beethoven Grosse Fugue quartet a better piece than Mozart's
dissonat quartet? If so, by how much? And when we had found the
absolute best piece ever written, we should establish the death
penalty for anyone who disagrees.

I mention all of this because, as musicians, we should make a serious
effort not to sound like the kind of dilletante who makes such outrageous
statements, claiming that his or her taste defines what is or is not great.

For me (and only for me), I am unable to state whether the bassoon concert
is a better or worse piece than K. 622, and I don't care in any case.

And I do love Turkey in the Straw, in any case.

=======================================
Dan Leeson, Los Altos, California
Rosanne Leeson, Los Altos, California
leeson@-----.edu
=======================================

-------------------------------------------------------------------------