Klarinet Archive - Posting 000794.txt from 1999/09

From: Markgr0806@-----.com
Subj: Re: [kl] Features, styles and the Copland concerto
Date: Fri, 24 Sep 1999 05:21:00 -0400

Mr. Pay's comments intrigue me.

I am a masters student at the Cincinnati College-Conservatory of Music. My
teacher, Ron deKant, played the Concerto under Copland with the Vancouver
Symphony in the 60's. He said the following about the work in reference to
comments on previous posts:

"Copland said the following when I worked with him on the Concerto: 'To
those who say that I would have made *specific* notations regarding swung
notes, blue notes, vibrato and the like, look who I was writing it for!!!! I
was writing for Goodman the entire time. I knew that he would take
liberties. Why write them in?' "

"So, there are a million interpretations of this timeless classic. In fact,
the original notation was quoted by Goodman to be "unplayable." In the
cadenza, he (Copland) doesn't want the eighth notes rushed. In fact, they
are to be more deliberate and held back. (He) said to me that all too many
fine players rush through it like it's a technical excercise as opposed to
poignant jazz riff that is was. The work is VERY indicative of his late
ballet writing. In fact, Robert Wall has performed it with ballet in the
background."

Just some food for thought by someone who has played the piece under the
original constructor. Isn't that what we always want? Guidance from the
originator?

Mark

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