Klarinet Archive - Posting 001143.txt from 2000/10

From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subj: RE: [kl] A conductor/performer
Date: Mon, 23 Oct 2000 12:17:01 -0400

Ed Lacy asked:

<<<What I found more distracting were the facial contortions of Perlman and
Ma. Yo-Yo tends to play in such a way that indicates that he can't bear the
smell of his cello, turning his head away from the instrument, putting his
nose in the air and adopting a facial expression that seems to signify
extreme distress. . . . I'm sure they are indicating, consciously or
unconsciously that they are deeply involved in the music. I would like to
know whether such players as Perlman and Ma could play as expressively
without the extra-curricular
grimacing. It would be interesting to compare two recordings of them, one
with and one without the theatricals, to see if the difference could be
discerned.>>>

On the phenomenon, two observations and a question . . .

Back to the conductor thing. I have had the opportunity to watch a couple
of recordings made, both for motion pictures and once for an orchestral
recording. The conducting in that context was much different than that in
the concert hall -- much, much "bigger," with substantially more clarity in
the beat. No "dancing" at all. (If a tree falls in the forest . . . )

Second observation: I have also had the opportunity to see Jascha Heifetz
perform. A pretty good fiddle player. Other than the left-hand fingers and
the right arm, he didn't move much. (I suppose he was breathing, but I
wasn't that close to see.) So I guess it is possible to play with beauty
and emotion without histrionics.

The question -- both Perlman and Ma have made a lot of recordings. Do they
do the same dance with the song in the recording studio? If not, why not?

kjf

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