Klarinet Archive - Posting 000914.txt from 2001/10

From: Mike Dowler <syo@-----.com>
Subj: Re: [kl] Speculation (Bassett Soliloquies)
Date: Tue, 30 Oct 2001 11:26:18 -0500

This reminds me of undergraduate composition class where I would come
across a wide range of notational errors and a lot uncertain
markings. On first playing, for example, I would play a piece as it
was written with no slurs or articulation, or untransposed, or poorly
balanced and make them sweat a little in front of the class. On the
"encore" after the class discussed the piece and these errors, I
would try to play it as artistically as possible, making up for the
missing information.

Mike

At 11:12 PM +0000 10/28/01, Virginia Anderson wrote:
>I go with the composer's wishes as well, but perhaps in the spirit of
>game-playing mentioned by the pianist John Tilbury in 1969:
>
>"I think composition is a serious occupation and the onus is on the
>performer to show the composer some of the implications and consequences of
>what he has written, even if from time to time it may make him (the composer
>of course) look ridiculous. What he writes and what you read are two
>different things." [in Michael Nyman, _Experimental Music: Cage and Beyond
>(New York: Schirmer Music Books, 1974), p. 16]

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