Klarinet Archive - Posting 000580.txt from 2000/07
From: rgarrett@-----.edu
Subj: Re: [kl] enthused musings upon Mozart Concerto
Date: Tue, 18 Jul 2000 13:22:20 -0400
At 12:39 PM 07/18/2000 EDT, you wrote:
> It bothers me, though, that several people sing theme and variations on, "I
>refused to study this concerto at such-and-such time, because I wasn't
worthy
>of it, and of course I'm still not worthy of it." (I'm loosely
paraphrasing.) I agree with the general idea that >beginners could put
their time to better use than by tackling a professional-level concerto,
but I hope
>the "we're not ready yet" idea doesn't prove so contagious that adults and
>advanced students think they can best show respect for Mozart by putting
off,
>and putting off, and putting off learning his music. I think there's a
>danger of deifying Mozart, when the repertory of really first-class pieces
>for clarinet is so small.
[SNIP]
> But, how do we get
>ready to play the Mozart concerto, or any other "real music," except by
>playing it? me to write that way forever.
I always hesitate to jump into these kinds of discussions, but I thought I
would offer from a personal perspective.
Lelia, more people may agree with you than you think. Keep in mind that
there are many, many teachers on this list who teach Mozart to the young
student who have not commented and probably never will. There are
thousands more who are not even on the list who feel as you do. The list
is merely a forum for those who are on it to express opinions, discuss
scholarly issues, present information, wheter it is factual or only partly
factual, etc. but it is NOT a decision making body that can affirm or deny
a philosophy - it can only persuade by way of presenting information,
opinions, and experiences.
That having been said, I continue to teach Mozart to students as early as
possible - usually beginning with the second movement. I have had students
play it after only two or three years of study - quite successfully I might
add (in terms of the goals we set for "learning" it - eg., good beginnings
and ends of attacks at all dynamics, good control of technical passages,
good understanding of phrasing, good understanding of the eingang and it's
role in the work, good understanding and awareness of form, etc.). In
fact, I played it myself after only 9 months on the instrument as a 7th
grader. 3rd movement happened the next year. I still have recordings of
those performances and often play them when the very young students get
discouraged......why? For the very reasons you mentioned Lelia - everyone
can appreciate Mozart's music. It never ceases to amaze me how students
take to Mozart after having played other "more appropriate" pieces for
their age level. Their motivation to practice, play, listen, achieve, and
understand are all piqued by this wonderful concerto. And the funny thing
is Lelia, I have taught the work to so many student, one would think I
would be tired of it. But I never am. It is a thrill to watch a young
student experience Mozart's Concerto for the first time. Of course - they
should have access to two or three recordings always - and we can help
students with that as teachers.
So........even though there is strong sentiment both ways with regard to
teaching and learning music and where Mozart should or should not be
introduced in that process, you don't have to agree with even the most
ardent scholar, performer, etc. to be successful with your students. I
wouldn't even be unhappy if you disagreed with me! : )
Until you decide your approach is not correct, don't be dissuaded by what
others say. Stick to your guns!
Sincerely,
Roger Garrett
Roger Garrett
Professor of Clarinet
Director, Symphonic Winds
Advisor, IWU Recording Services
Illinois Wesleyan University
School of Music
Bloomington, IL 61702-2900
(309) 556-3268
A Clarinetist's Revenge is sometimes personified by the following excerpt
from the London Daily News, circa 1926:
"The saxophone is a long metal instrument bent at both ends. It is alleged
to be musical. As regards markings, the creature has a series of tiny taps
stuck upon it, apparently at random. These taps are very sensitive: when
touched they cause the instrument to utter miserable sounds suggesting
untold agony. Sometimes it bursts into tears. At either end there is a
hole. People, sometimes for no reason at all, blow down the small end of
the saxophone which then shrieks and moans."
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