Klarinet Archive - Posting 001126.txt from 1998/10

From: dnaden <dnaden@-----.net>
Subj: Re: [kl] Weber Concerto number 2--Sabine Meyer & Charlie Neidich
Date: Mon, 26 Oct 1998 21:31:37 -0500

In response to those who have commented on the Weber 2nd, and in particular to GT
and his most recent post (see below) I offer the following for consideration (and
I apologize to those who will interpret this as a flame):

To GT: Once again you have managed to come with the disease "foot-in-mouth." How
dare you refer to most clarinetists as 'stiffs and "orchestra drones,"' because
the collective "we" "lack basic knowledge and insight on playing music." there
are many members on this list who play in orchestras on a regular basis, and have
more basic knowledge and insight than you presently do! You are certainly
entitled to your opinion, but your statements--as usual--are broad and
sweeping--and insulting. Either learn how to temper your comments, or keep them
to yourself please.

In regards to Weber, and whether his concertos are "great" pieces or not please
consider the following: 1) Mozart, as a composer, is often considered in a class
by himself, and the Clarinet Concerto is often considered the ultimate concerto
for the instrument. However, the concerto was written specifically for Anton
Stadler, and his unique abilities on the instrument. 2) One of Weber's greatest
contributions to music was in the field of opera. The Clarinet
Concertos--especially the 2nd movements--were written in a more or less operatic
style. In addition, they were written specifically for Heinrich Baermann, and
HIS unique abilities. Baermann's style and abilities were not the same as
Stadler's. 3) Many of the editions in use today are edited. The Lineau edition,
distributed by Peters, does have fewer markings in terms of tempo, articulations,
etc. 4) As performers, we have an obligation to perform ANY piece as intended by
the composer. However, there are often changes made to a piece during performance
that become passed down, and accepted astradition. The key is to balance the
composer's intentions with artistry during a performance. 5) At least one
previous post made a comparison between the Weber Concertos and any of the great
violin concertos. This is an unfair comparison at best. The Weber Concertos may
have a lighter side than the Mozart Concerto, but they stand on there own merits.
If they were nothing more than potboilers, they would have faded long ago, and not
be part of the standard clarinet repertoire.

Just some thoughts--as scrambled as they may be.

David S. Naden, MMus
Cal State University Los Angeles

GTGallant@-----.com wrote:

> In a message dated 98-10-26 16:20:39 EST, you write:
>
> << why did he indicate that only groups of 6 were
> to be slurred and why does he make a point to change the articulation in the
> fifth measure of that section? If he wanted it as fast as possible why is
> there no marking other than "brillante"? This is an indication of a style
> more than anything else. There is no tempo change from the Polacca, (m.m.
> 100 on my version)! >>
>
> Music making (wind playing) of this time period was virtuosic and the composer
> assumed the player would add their own touches. Most players today have
> become stiffs and "orchestra drones" because they lack basic knowledge and
> insight on playing music. Weber need not write "play faster" or "tongue these
> notes" because he assumed the great Baerman was smart enough to do it himself.
> Modern music (20th century) usually specifies all details and expects you to
> play as written. Even so, 20th century works still require the performer to
> be musical and phrase. I'm sure if you played the 2nd cocerto for Weber and
> circular breathed, tongued sextuplets, used vibrato, played the last mvt. at
> 1/4 @-----.
>
> I agree with Kevin Fay, this work is extremely light and should not be taken
> so seriously. So go ahead, play everything as writen, play ridiculously slow,
> and see if anyone outside the clarinet world listens!!!!!!
>
> -------------------------------------------------------------------------

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

   
     Copyright © Woodwind.Org, Inc. All Rights Reserved    Privacy Policy    Contact charette@woodwind.org