Klarinet Archive - Posting 000748.txt from 1998/07

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Mozart's ban vs cl concerto
Date: Wed, 22 Jul 1998 09:01:32 -0400

Unfortunately, a lot of people cannot be relied upon to give a genuine
opinion on *anything* to do with the arts, from ignorance, lack of
confidence, or unwillingness to transgress against the norms of the social
group they find themselves in. If this were not so, I would agree with
Dan. Also, more artists would be given their just deserts.
Perhaps, though, this is just a British phenomenon(!?!?!?!).
rjs

On Tue, 21 Jul 1998, Dan Leeson: LEESON@-----.edu wrote:

> Date: Tue, 21 Jul 1998 19:51:45 EDT
> From: "Dan Leeson: LEESON@-----.edu>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: [kl] Mozart's ban vs cl concerto
>
> 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
> =======================================
>
> -------------------------------------------------------------------------
>
>

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