Klarinet Archive - Posting 000313.txt from 2000/03

From: Keith <100012.1302@-----.com>
Subj: [kl] klarinet Digest 9 Mar 2000 09:15:00 -0000 Issue 2096
Date: Thu, 9 Mar 2000 13:40:23 -0500

Message text written by INTERNET:klarinet@-----.org
>From: "Mark Charette" <charette@-----.org>
Subject: Re: [kl] Re: Dvorak Serenade
Message-ID: <006c01bf8970$0de95080$29e11fce=sneezy3>

From: "David B. Niethamer" <dnietham@-----.edu>
>> We just played this with a "conductor" ;-) this requires a new form =
of
>> independence of the hands and eyes - watch the conductor but ignore hi=
m
>> and play with what you hear. Very instructive, and not all that easy!

<Mark C>
>I'm sure that most of you accomplished players can do without a conducto=
r
("wink, wink, nudge, nudge, you know what I mean, you know what I mean.")=
-
however ...

>For those just starting to really learn what "playing" is about, there
must
be _something_ to having a good conductor. My son's part of his
conservatory
orchestra under Louis Lane, and he's enjoying every minute working with
maestro Lane. - learning, thinking, and listening.
<

Yes, of course, Mark; the training role of a conductor for beginning
players =

is very important, both in keeping tempo ("where's your down beat???")
and in guiding the interpretation. As one improves, the emphasis switches=

to the latter. A chamber ensemble of good players does not need a
conductor.
The essence of chamber music is the interaction of individuals, playing i=
t
differently each time, responding to the way another played a particular
phrase, making it more than the sum of the parts. In a real sense, a =

conductor is then an impertinence.

I have conducted the Dvorak Serenade with a good amateur group; I judged
I was successful when they could do without me! I first played the Mozart=

Gran
Partito with a conductor, but enjoyed it best when we did without.

Keith Bowen

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