Klarinet Archive - Posting 000059.txt from 2000/10

From: "Ian Black" <clarinet1@-----.uk>
Subj: [kl] Flames
Date: Mon, 2 Oct 2000 15:28:54 -0400

You know, it's been a time since we had a good old flame-war on klarinet, and (despite the fact that
it is somewhat refreshing to note that Dan Leeson is not featured this time) it is not good
"netiquette", and does nothing to further the debate on music and clarinet-related issues which we
all subscribed to contribute to and benefit from.

In the past, I have benefited greatly from the wisdom of Messrs. Garrett, Leupold, Pay and the many
others who regularly contribute to this discussion. Please do not spoil it for me (and the other
subscribers - I'm not alone) by having the discussion deteriorate into the puerile, egotistical,
downright confrontational, and (most importantly) non-musical slanging match which it became of
late.

Can I also say particularly to those who hold respected positions either as players or teachers,
that you very probably inspire some of the contributors and lurkers on this list with your abilities
and reputations. There are young children who subscribe here - is this _really_ the image which you
want to portray of professionalism in music? I'm not trying to suggest that everyone should agree
with everyone else about everything - that would make the list incredibly boring. Instead, please
make your points (about music - nay clarinet - related issues) without resorting to playground-style
behaviour. But if you feel that you must hurl the insults (however erudite), do it off-list, or find
another forum. Need I point out that Kevin Fay opted out of this flame-war particularly early on -
in my view the best way to deal with it. Other people have jumped in to fan the flames, ignoring the
rest of us and our pleas for it to be allowed to die.

Tony W. asked (in trying to bring the discussion back to clarinet music) what was the most difficult
piece ... of clarinet writing ever. Perhaps we could turn our attention to this? The closest I can
get is the Messager (Solo de Concours), and yet I've made light work of (supposedly) more difficult
pieces. Part of the third movement of the Mozart is made unnecessarily difficult if you follow some
editors in playing bars (measures) 311-313 over the break. I've commented on the relative merits of
how to take the passage down the octave and more aligned to the pitch of the original Stadler
clarinet in a previous post.

Come on guys, talk about music and quit the one-upmanship.

Ian

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