Klarinet Archive - Posting 000362.txt from 2001/04

From: HatNYC62@-----.com
Subj: [kl] Re: klarinet Digest 16 Apr 2001 08:15:01 -0000 Issue 3021
Date: Mon, 16 Apr 2001 22:53:52 -0400

>>> <><> David Hattner wote:
Marcellus comes from an older school musically, which believed that
Mozart (for example) and his music was something that existed in a pure
state. Informed performance practice now suggests that performing
Mozart's music is a collaborative act between Mozart and the performer.

A sincere question, not a challenge: Does this translate to "more
personal freedom to put your own feelings into your playing"?<<<<

You know, there really isn't a good answer to this question, because
comparing the two styles is really comparing apples and oranges.

There are still people out there who cannot accept the Szell/Marcellus way of
doing it and there are still people who think theirs is the best way.

If a performer is improvising and actively interpreting the work as he plays
it, it is easy to assume he is putting 'more of his personal feelings' as you
say into the performance.

But I am not sure it is as simple as that. I think it is possible to express
as much, but within tighter perameters. The player in this case puts all of
the thoughts he has had for the work thoughout his lifetime into one,
unchanging "definative" interpretation. Again, I am assuming that the
question of the 'right or wrong' way to do it, historically speaking, is
taken out of the equation.

<><> But I have a cd coming out soon and maybe you can figure it
out if you hear it. . .

Are you able to announce the pieces of music yet?

Yes, the cd is called "The Clarinetist Composer" and has works by Dan Dorff,
Rudolf Jettel, Louis Cahuzac, Ernesto Cavallini, Luigi Bassi, Aureglio
Magnani and Edward Yadzinski. Wow, say those 10 times fast.

David Hattner, NYC

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