Klarinet Archive - Posting 000559.txt from 2000/11

From: webler <webler@-----.net>
Subj: RE: [kl] Triplets, Quads, Quins, sextuplets, Septs, Octs, and more
Date: Thu, 16 Nov 2000 01:02:20 -0500

I agree with Doug on the importance of practice over rhetoric and the fact
that many of the virtuoso's take some liberty with rhythmic notations on
the Brahms Sonatas. I would like to add, however, when an individual
initially approaches a piece such as the Brahms, I believe that a strict
interpretation must be taken until all the parts are mastered, and an even
tempo can be maintained. After this has been achieved, than you my
experiment with taking such liberties, within the context of good
musicianship. When I have heard young players attempt the Brahms they
often turn it into a funeral dirge. The reason I believe this happens is
because they are not able to come back to the original tempo set at the
beginning. I have gained an enormous respect for the Brahms and a greater
understanding of musical expression since delving into his music.
Thankfully, I have had an excellent teacher lead me through it.

The previous is stated IMHO.

Jay Webler
Jay's Clarinet and Percussion

The more I learn, the more I realize I don't know

-----Original Message-----
From: rgarrett@-----.edu]
Subject: Re: [kl] Triplets, Quads, Quins, sextuplets, Septs, Octs, and more

Wow! Other than the animosity, I find myself almost agreeing!

Sincerely,
Roger Garrett

At 10:02 PM 11/15/2000 -0800, you wrote:

>2) If you conceptualize the groupings rather than making
>them a science, you would realize that many virtuosi do not
>play them evenly ANYWAY! If you listen to recordings of
>Karl Leister, Anthony Pay, and other artists like Eugene
>Rousseau, Larry Teal, Donald Sinta, Walter Chesnut, Yo Yo
>Ma, Vincent Abato, Phillip Farkas, and hundreds of others,
>you would be LEARNING instead of emailing.... ALL of these
>virtuosi play groupings INTERPRETIVELY, not literally....
and into the practice rooms,

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