Klarinet Archive - Posting 000309.txt from 2001/04

From: "Jonathan" <jonassar@-----.net>
Subj: Re: [kl] On the matter of editing and other things
Date: Sun, 15 Apr 2001 16:45:01 -0400

----- Original Message -----
From: <rgarrett@-----.edu>
Subject: Re: [kl] On the matter of editing and other things

> Dan Leeson wrote a very thoughtful, powerful, and provocative posting
> regarding editing and decisions. I always enjoy and learn from his
postings.
>
> In terms of editing - of course a responsibility to make decisions based
on
> accuracy and preservation exists.
>
> My opinion differs very little from what Dan has written. But while the
> general context of his comments are important - many do not apply to the
> example I gave of the Adagio and Polonaise for Keyed Bugle and Ostinato by
> B.H. Crusell. We know the circumstances which caused Crusell to choose
the
> instruments he did, and we know his writing for the clarinet and other
> orchestral instruments from that time period. Therefore, when a decision
> is made - be it approved or disapproved by someone else with strong
beliefs
> in another direction - that does not preclude the "rightness" or
> "wrongness" of a decision made differently. We are different people with
> different objectives - both musically and educationally - and those
> decisions, we hope, are not made just for the sake of "doing whatever [we]
> want."
>
> In the case of the Crusell - I didn't do whatever I wanted - I edited for
> reasons that I felt were legitimate and compelling.
>
> As far as what others do - Bellison, Leeson, etc........... others on the
> list will have to determine for themselves if they were damaged somehow by
> playing a Bellison edition of the Mozart Clarinet Concerto. I don't think
> you have to act as lemmings and follow only the advice and powerful
> feelings of another person. Let it influence you and let it shape your
> thinking - but don't let it rule everything you do in terms of playing and
> expressing! Hopefully, his statements will shape your thoughts next time
> you have the opportunity to play the notes that Mozart passed on to all of
> us - and it will make the experience and even more powerful one for
> you. But if you don't use the advice - don't feel guilty - believe in the
> reasons for which you play what you play and the way you play it. And
keep
> striving for the truth always.
>
> Best wishes,
> Roger Garrett
>
>
> Roger Garrett
> Clarinet Professor
> Director, Symphonic Winds
> Illinois Wesleyan University
> School of Music
> Bloomington, IL 61702-2900
> Phone: (309) 556-3268
> Fax: (309) 556-3121
>
> "A man never discloses his own character so clearly as when he describes
> another's."
> Jean Paul Richter (1763-1825)

I enjoy so many of these conversations on the list, but this one made me
think a little more than past conversations, being a composer myself. Then,
what I was thinking was sort of reinforced when I was reminded of Roger's
quote at the end of his email (foreshadowing... I love it).

As an amateur, I really don't know that much history behind composers, their
intentions (other than what I have been told), or what the music is
"supposed" to sound like. However, when I play a song, I play according
what sounds the best. My philosophy is basically 'since the performance is
for the audience to enjoy, I'll present something that the audience will
like.' I've received a large amount of complements on the music I play
because I'm told I have great musicality. I'm not trying to toot my own
horn here (although I should be practicing more), I actually have a point.

At first as I was reading this discussion, I was thinking more about the
music that I write. They are basically expressions of myself and for the
expressions to be sent across, they must be played a certain way. I guess
that's part of the reason why I haven't let anyone play the song without
extensive supervision on my part. However, my performances of other songs
are also expressions of myself. Are they the same expressions that were
originally intentioned? Some of them might be, but I'd guess that a good
chunk of them aren't. It might depend on the composer, but I know that when
other people perform my songs in the future (I'm quite the optimist) I'd
like for people to express themselves. If someone is inspired by one of my
songs to express himself in a way I had not originally intended for the song
to be expressed, then I can't see anything wrong with that. I'd rather
someone play my song with feeling and self-expression rather than a
mechanical effort of trying to know what I had in mind when I composed the
song. Heck, sometimes I can't remember what I had going through my own mind
when I composed some song. I just play it how I feel like playing it. And
it pleases the audience. Maybe I think this because music isn't my source
of income, as Neil mentioned.

A friend told me of a really good clarinetist/private instructor once - he
was in the middle of a piece with a student when he stopped and stopped his
student and asked the student, "Are you having fun?" From time to time, I
ask the same question to my peers and students. When I think back to why I
started music, I remember how much fun it seemed like. I had so many things
I wanted to try out. Why? It was fun. I didn't care about how it was
"supposed" to be played. I just used music as a way to express myself and
have fun.

Anyway, this is long and I could continue this more, but I think I've gotten
my general gist down,
--Jonathan

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