Klarinet Archive - Posting 000326.txt from 2000/09

From: "David B. Niethamer" <dnietham@-----.edu>
Subj: [kl] judging music of the present (was: Great Recital...)
Date: Sat, 9 Sep 2000 22:27:53 -0400

on 9/8/00 11:49 AM, James Sclater wrote:

>I don't think that one hearing of any challenging new work is enough to
>enable anyone to make meaningful decisions about the worth of that piece,
>especially if the language is difficult. The relationship between a
>performer and a composer can be a very exciting one if both keep an open
>mind. Maybe we all just need to try a little harder to promote the music
>of the present.

I've known Allan Blank for the 20 years that I've lived in Richmond, and
we've collaborated on lots of projects. As a musician (not just a
composer) he's a valued friend and colleague, even though we're from
different generations.

As I remarked at the recital, working with a composer who is intelligent
and articulate can help to inform our performances of pieces from the
past [dead white guys ;-) ] by giving us new insights into the
interpretation of notation, which is at best inexact.

"Three for Two" got a lot of unsolicited nice comments from various
audience members with different degrees of musical expertise. Al Hunt and
Patty Smith are sophisticated musicians - the parents of my students are
more casual listeners - and they all reacted positively to the first
hearing of this piece. This is interesting to me, because from the
"inside", practicing, rehearsing and performing the piece, I don't have
the same sense of the music as I will once I hear the recording. The test
for this piece will come, as James Sclater implies, with repeated
performances and hearings - does it sustain interest for the player and
listener. Andrew Porter would always ask in the "New Yorker" - "would I
want to hear this again?"

"Links", on the other hand, is a very complex piece - 10 movements.
played without pause, lasting 25 minutes, in varying combinations of
solo, duo, and trio for clarinet, violin, and piano. I think there have
been three performances since 1987, and I've played two of them. Chuck
West recorded it after the first performance back in 1987. I think it's
one of Allan's best pieces, and I've played a lot of his music and heard
a lot more. But I can't imagine appreciating this piece fully on one
hearing. I keep playing this piece, because I think it's the second and
third performances (and beyond, if the composer is lucky) that tell the
tale for posterity.

It would be a heck of a lot easier to play Brahms and Poulenc...but not
necessarily more rewarding.

David

David Niethamer
Principal Clarinet, Richmond Symphony
dnietham@-----.edu
http://members.aol.com/dbnclar1/

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