Klarinet Archive - Posting 000518.txt from 1998/11

From: "Dan Leeson: LEESON@-----.edu>
Subj: Re: [kl] Oh frabjous day!!
Date: Sat, 14 Nov 1998 15:42:38 -0500

> From: MX%"klarinet@-----.60
> Subj: Re: [kl] Oh frabjous day!!

> As regards pianos, hearing Schubert, Chopin and Brahms played on
> instruments of the kind they expected to be used for their music is
> revealing, too.
> Roger S.

Roger is correct to point out that, in general, the kinds of
instruments used in the various eras of music history are generally
the most successful in reproducing that music in a way
consistent with what the composer had in mind.

One example will suffice to demonstrate that there are some factual
issues involved, not emotional ones: Mozart's piano had straight
strings; i.e., every string was parallell to every other string and
the sound produced was influenced by this physical arrangement. Personally
I find that the inner voices are illuminated by such a physical
organization. Now by the time that Brahms was writing, pianos were
made differently, not only with greater range, but by crossing strings.
If you look inside a grand piano you can immediately see this different
string arrangements. It allows for great power in performance, far more
than the Mozart piano. But inner voices are not nearly so clear in
performance as on a straight string piano.

So when one says that performances on original instruments are
different, there are physical considerations involved, not only
personal ones.

Applying that same logic to clarinets (of which I heard copies
last evening in San Francisco), the character of the 18th century
clarinet is markedly different from that of a contemporary
instrument.

>
>
> On Fri, 13 Nov 1998, Dan Leeson: LEESON@-----.edu wrote:
>
> > Date: Fri, 13 Nov 1998 14:26:16 -1300
> > From: "Dan Leeson: LEESON@-----.edu>
> > Reply-To: klarinet@-----.org
> > To: klarinet@-----.org
> > Subject: Re: [kl] Oh frabjous day!!
> >
> > > From: MX%"klarinet@-----.65
> > > Subj: Re: [kl] Oh frabjous day!!
> >
> > >
> > > In a message dated 11/10/98 10:50:31 PM, leeson@-----.edu writes:
> > >
> > > <<Accompanying Levin, who will be playing on an 18th century piano is
> > > an orchestra of original instruments >>
> > >
> > > I understand perhaps playing a concert on original instruments gives a feeling
> > > of authenticity to a work, but why else would musicians play on period
> > > insturments? I am not asking this question as a put down to period
> > > instruments, but out of total curiosity.
> >
> > There are those who believe that music of the 18th century cannot
> > be heard as it was intended to be heard unless it is played on
> > instruments of the period. I am certainly of that opinion with
> > respect to Mozart era piano. There are technical and acoustical
> > reasons why it sounds differently, and those differences make it
> > better for me.
> >
> >
> > >
> > > -------------------------------------------------------------------------
> > >
> > =======================================
> > Dan Leeson, Los Altos, California
> > leeson@-----.edu
> > =======================================
> >
> > -------------------------------------------------------------------------
> >
> >
>
>
> -------------------------------------------------------------------------
>
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Dan Leeson, Los Altos, California
leeson@-----.edu
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