Klarinet Archive - Posting 001145.txt from 1998/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Weber Concerto number 2--Sabine Meyer & Charlie Neidich
Date: Tue, 27 Oct 1998 08:44:10 -0500

Given the lack of *specific* evidence, what makes you so darn sure?
Roger S.

On Mon, 26 Oct 1998 GTGallant@-----.com wrote:

> Date: Mon, 26 Oct 1998 18:04:42 EST
> From: GTGallant@-----.com
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] Weber Concerto number 2--Sabine Meyer & Charlie Neidich
>
> 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!!!!!!
>
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>
>

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