Klarinet Archive - Posting 000756.txt from 1999/11

From: chi chan <lokshing@-----.com>
Subj: Re: [kl] Re: Mozart as an audition piece
Date: Sat, 20 Nov 1999 00:57:36 -0500

Dear Mr. Ed Lacy,

I agree with you completely, Mozart's pieces is the best for one to express his
muscial effort and passion, the tone color too of-course. Even though it is 36
years from now I can still rember when I played the Mozart Concerto in my
graduate recito one professor gave me an A and another gave me a B. This made me
thought that when a student play a piece of music it may sometimes depends on
how the professors would like you express it. Some may like the music being
played more fast, some may like it slow, some may like havier tonguing some may
not. Then, as a student, besides try to get the original tatse of the composer
he has also to guess how his professor's taste in order to get a higher grade.
Don't you thisk so?

Sincerely,

Chan

chi chan wrote:

> Great, I am a mozart lover. I bet that's why I palyed clarinet for 43 years
> and only can play Mozart,s piece.
>
> Wayne
>
> Edwin V. Lacy wrote:
>
> > On Thu, 4 Nov 1999, Tony Pay wrote:
> >
> > > Well, the short answer is that for various reasons, I don't think
> > > the Mozart is the best piece to set in order to get an idea of how
> > > suitable a candidate is for an orchestral position.
> >
> > I think I understand what you are saying. However, in the orchestra in
> > which I play and at the university at which I teach, whenever we have an
> > opening for a woodwind player, we always specify the appropriate concerto
> > by Mozart as the solo piece, or one of the solo pieces. (For flute, the D
> > major concerto; for oboe the C major, which is the same work as the
> > above; for clarinet, K. 292; and for bassoon, K. 191.) I have observed
> > that in many audition situations, the same procedure applies.
> >
> > Naturally, especially if the position in question is an orchestral one,
> > there will be other music on the audition list, specifically, orchestral
> > excerpts. But, our reasons for choosing Mozart include the fact that
> > listening to how a player handles various aspects of the music of Mozart,
> > one can make an excellent assessment of many of the player's attributes -
> > how rhythmic they are, their tone quality and intonation, how refined
> > their technique is, etc. I can't think of any other music that leaves so
> > little to the imagination of the auditioning committee. This has little
> > if anything to do with what choices the player makes concerning style or
> > ornamentation. At that point, we are trying to determine something far
> > more basic or fundamental about the player.
> >
> > A far worse choice is to try to pick something obscure in the hope that
> > the committee won't be familiar with it and that the candidate will
> > therefore be able to cover up any possible inaccuracies. Similarly,
> > choosing an avant garde or aleatoric work will generally leave the
> > committee completely perplexed about what the candidate can actually do.
> > Another trap into which young players sometimes fall is choosing something
> > with millions of fast notes, in an attempt to impress the committee with
> > their technique. Normally, we assume that players in such situations have
> > adequate technique; what we want to know is whether they can play
> > musically.
> >
> > Sometimes, such an audition list will include various standard excerpts,
> > and a "solo of the applicant's choice." The widely and commonly held
> > understanding is that if they say that, what they mean is that "if you are
> > smart, you will choose Mozart."
> >
> > I can say only that from personal experience that I feel in a much better
> > position to make a fair and accurate assessment of an auditioners
> > abilities after hearing them play Mozart.
> >
> > Just my experince and my viewpoint.......
> >
> > Ed Lacy
> > el2@-----.edu
> >
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