Klarinet Archive - Posting 000061.txt from 2001/08

From: rgarrett@-----.edu
Subj: Re: [kl] I'm baaack!
Date: Sat, 4 Aug 2001 12:18:46 -0400

At 08:40 AM 08/04/2001 -0500, you wrote:
>On the other hand, there's music that's a lot more interesting to play than to
>hear. A case in point: Persichetti's sixth symphony.

I know that what we like and dislike, and find interesting or not
interesting is very subjective, but I really, REALLY have to disagree with
the idea that Persichetti's Symphony No.6 for Band is not interesting to
listen to. I first heard it when I was 14 years old - and only playing the
clarinet for 1 year. I listened to it over, and over again - and
eventually, it became one of my favorite pieces to listen to for band. It
is extremely exciting - all the way from the imaginative and colorful
percussion writing to the use of the brass - both in terms of color (mutes,
texture, voicing, etc.) and in terms of rhythm. Persichetti used his
traditional instrumental choir approach (groupings of instruments in blocks
of phrases) throughout, but he did use other compositional elements in this
piece that highlight his style. He carefully crafted a very exciting and
interesting work. Careful study of this piece is required - as well as
multiple listenings - to begin to hear all that is in it.

My opinion is that if you enjoy music - and you are interested in having
your ears evolve - listen to compositions multiple times. As for the
Symphony No. 6, there are some excellent recordings that I feel are much
better than the Fennell/Eastman recording (a classic by the way) - those
would be University of Illinois with Mark Hindsley, and University of
Michigan with William D. Revelli. The latter recordings are more accurate
because Revelli knew Persichetti personally and performed this work every
three or four years from the time of its composition date - and those are
very, very exciting performances to hear. There has to be a reason why the
audience is applauding even before the work is done.

>How many pieces of original writing for wind ensemble are interesting both
>to the players and the audience?

My guess is that if you went and listened to Hindemith's Symphony for
Concert Band you would turn it off after two minutes - but there are no
truly knowledgeable and passionate musicians I have ever met who feel it is
not exciting or a masterpiece. The Sinfonietta by Ingolf Dahl might turn
you off immediately - but I find it to be a very engaging and incredibly
artistic piece of music. If you want to hear delightful and tasteful
writing for alto clarinet, just pay attention to the second movement solo -
which ends the movement. Absolutely beautiful writing.

Other pieces that you might explore someday:

The Passing Bell - Warren Benson
Emblems - Aaron Copland
Geschwindmarch by Beethoven (paraphrase of March W.w.O 18) - Hindemith
Konzertmusik fur Blasorchester - Hindemith
Hammersmith - Gustav Holst
Music For Prague 1968 - Karel Husa
Suite Francaise - Milhaud
Theme and Variations - Schoenberg
George Washington Bridge - Schuman

I have purposefully listed works that you might first listen to and
go......"YUCK!!!!" But that are considered to be masterpieces - and are
undisputed works of art for band. They also happen to be very interesting
to listen to after you get to know them.

Just something for you to consider Rhea.

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)

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