Klarinet Archive - Posting 000871.txt from 2000/09

From: Daniel Leeson <leeson0@-----.net>
Subj: [kl] Can the elephant dance??
Date: Wed, 27 Sep 2000 09:47:23 -0400

A recent posting about a recording of the Beethoven Violin concerto
played on clarinet reminded me of a story that is relevant to the
attitude of players to such performances (including, for example,
performances of the Mendelssohn violin concerto on clarinet and trumpet,
or the Mozart bassoon concerto, on clarinet).

One view is that such performances are inherently unmusical no matter
how brilliantly they are brought off because of the perception that a
disservice is being done to the music. Another view is that such
activities are all part of the musical performance spectrum and if you
don't like it, you can go and sit in your ivory sewer.

The story relevant to this entire question was one asked asked of a now
heavily overweight woman actress in her late 60s, though she was quite a
beauty when in her 20s. Her opinion on performing nude scenes in movies
was solicited and she responded as follows: "If I had the body now that
I had [40 years ago], I would say that such performances are tasteful,
relevant, and contributory to the overall art. On the other hand, with
my body now in its current shape, I say that such performances are ugly,
tasteless, and absurd."

So I guess that one of the many attitudes that may be brought to
performing works that require musical acrobatics from the clarinetist is
a function of whether or not you can do it.

And yet, another and not entirely dismissable point of view is that such
performances are not likely to be of long term service to music, no
matter how well they are brought off technically. It's like the
elephant who was taught to dance. It's not so much that the elephant
did it well, but that he did it at all.

In effect, how musical is it to perform in a fashion that may possibly
bring disservice to a composition in order to bring service to the
performer. And this would include the still performed cornet solos that
invariably end with a triple tonguing section that leaves the audience
breathless at the performer's skill, but which has uncertain musical
value. After all, is the Carnival of Venice a noteworthy composition
outside of the fact that the elephant has to dance to bring it off?

Are these thing viable musical contributions or simply vulgar
self-serving acts.

Don't look to me for an answer? I don't know what they are, but the
question is worth discussing.
--
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** Dan Leeson **
** leeson0@-----.net **
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