Klarinet Archive - Posting 000879.txt from 2001/10

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] Speculation (Bassett Soliloquies)
Date: Sun, 28 Oct 2001 16:51:47 -0500

On Sun, 28 Oct 2001 11:48:35 -0800, nichelle@-----.com said:

> > Of course, it does occur to me that you could write to Bassett
> > ...but if you do that, you risk getting an answer 'that you might
> > not want.'
>
> ...I may just write to him about this question, and I'll be sure to
> post the results to the list.

Very good.

> > I hesitate to write that quite so directly, because I almost always
> > argue on the other side, namely that of following the composer's
> > wishes; but the alternative point of view needs to be represented
> > from time to time.
>
> I'm hesitating here too. I really want to ask what you feel the
> alternate point of view is, and what its worth might be.
>
> Oh, what the heck. I'll ask.

Well, it's a really tricky question to answer.

Let me first give you my reactions to five various scenarios that
might occur as I prepare a piece, not necessarily anything to do with
what you might do.

------------------------------------------------------------------------

1. When I hear myself ignoring what the composer has written, and in
addition, communicating nothing worthwhile by my performance, I tell
myself, start by playing what the composer has written.

2. When I hear myself ignoring what the composer has written, but
nevertheless communicating something worthwhile by my performance, I
tell myself that if I want to do that, it's fine; but clearly I'm not
representing the piece, and much more importantly, I'm limiting myself
simply to what I am at present capable of imagining.

3. When I hear myself following what the composer has written, and
communicating nothing worthwhile by my performance, I tell myself to get
my attention off reproducing what is written, and on to what lies behind
what is written -- which is that the music be alive.

4. When I hear myself following what the composer has written, and in
addition communicating something worthwhile by my performance, I
provisionally celebrate it, and go on to the next bit.

5. When I hear myself following what the composer has written (apart
from one small thing that in the end I want to change) and in addition
communicating something worthwhile by my performance, I celebrate it
(and change it).

------------------------------------------------------------------------

The point for me is, that unless you go through all of that before
changing something, you're trapped by 'just what you like'.

But, you can change things. (Obviously, as the performer, you can do
'what you like'.) The question is, what do you *really* like? (cf.
'The Neverending Story' -- book, not film.)

I'd say that, *even if the composer is alive, and disagrees with you*,
you can change things. Because the reason you *don't* change things
isn't to do with him/her, it's to do with you.

So, finally, sometimes you don't want to ask.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN artist: http://www.gmn.com
tel/fax 01865 553339

... My hat covers my head.... Just like hair used to!!

---------------------------------------------------------------------