Klarinet Archive - Posting 000890.txt from 2001/10

From: lubydjackson@-----. Jackson)
Subj: Re: [kl] Speculation (Bassett Soliloquies)
Date: Mon, 29 Oct 2001 00:13:13 -0500

What key is the bassett horn pitched to commonly?
----- Original Message -----
From: "Tony Pay" <Tony@-----.uk>
Subject: Re: [kl] Speculation (Bassett Soliloquies)

> 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!!
>
> ---------------------------------------------------------------------
>

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