Klarinet Archive - Posting 001128.txt from 1998/10

From: "Dee D. Hays" <deehays@-----.com>
Subj: Re: [kl] Weber Concerto number 2--Sabine Meyer & Charlie Neidich
Date: Mon, 26 Oct 1998 21:40:17 -0500

-----Original Message-----
From: dnaden <dnaden@-----.net>
Date: Monday, October 26, 1998 8:34 PM
Subject: Re: [kl] Weber Concerto number 2--Sabine Meyer & Charlie Neidich

>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

Your thoughts are not the least bit scrambled. Your points are made with
precision and clarity.

Dee Hays
Canton, SD

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