Klarinet Archive - Posting 001345.txt from 2000/12

From: AnneLenoir@-----.net (Anne Lenoir)
Subj: Re: [kl] Technique and Musicality
Date: Sat, 30 Dec 2000 16:50:40 -0500

Dear Roger & Friends,
I have been thinking about the recent discussion about "Technique &
Musicality", and my thoughts and feelings about the discussions have
been, as usual, total exasperation and frustration, partially because I
wasn't able to understand and enjoy the dialogue.
For me, personally, I have always been the type of clarinetist who
really has to work hard to master a technical passage, and since I am a
perfectionist, I have always been willing to practice very slowly,
working up the piece on the metronome very gradually, so that when it is
finally up to tempo, it feels nice and free. (I believe that there was a
recent discussion quoting Julius Baker about practicing "correctly" and
learning the piece at a suitably slow tempo). When I have really learned
a piece well technically, I can sort of go into a dream-like trance and
feel the music come out. It's almost as if I have left my body and am
observing the "creativity" as it unfolds. For me, personally, I can't
feel this freedom unless I have practiced, metronomically, sometimes
painstakingly. The reason that this discussion depresses me is because
it makes me feel like DUH because I have to work so hard, (so that I can
be free later) and it hurts my feelings that other people think I should
maybe not be such a "slow learner". I will turn 55 in March and if I had
to play the entire Weber repertiore right this minute, I would break
down, maybe go to the Pueblo State Mental Hospital (in Colorado) for a
little rest.
I have to concentrate very hard on being in a state to be open to
creativity. Sometimes I get distracted, but I like to get right back on
track. Sometimes "intellectual" arguments distract me, because I feel
that the creative process is so simple and basic, that it's just ruins
it to talk about it too much. When Jon Manasse prepared for ClarineFest
in Norman this summer, I listened patiently outside his studio as he
practiced the Weber Quintet and long tones. He practiced so slowly and
beautifully that he was able to incorporate the "dream-like" quality
into the slow, metronomic practice as well. After hearing his
practicing, I would never read any "creativity/philosophy" books. I
would just go back to the space where I heard him practicing and try to
remember the joyful, ever-patient quality that I heard through the door.
I hope I haven't talked about it too much. ANNIE

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