Klarinet Archive - Posting 000297.txt from 2002/01

From: Labadorf@-----.com
Subj: [kl] Re: Performance from memory
Date: Fri, 11 Jan 2002 21:40:19 -0500

Pro: You know the music very well.

Con: In a performance, you realize you don't really know it as much as you
thought.

Pro: Much more impressive to the audience and a better presentation.

Con: Bad impression if you have a big memory slip.

Pro: You will have a much better experience. You become an integral part of
the music and experience. You will never understand this until you have had
a successful performance.

There is no middle of the road when you perform from memory: you either have
an exhilerating experience if you succeed, or you'll have dismal nightmares
afterwards if you slip. The short answer: it is better to perform from
memory, but you need to know it cold!! To do this you must know more than
the rote sequence of notes: Analyze the form, memorize the key centers (it
is best to develope a form study sheet for this), take visual pictures of the
pages, visually memorize the first phrase of each section and where on the
page the section begins. If you don't know the music intimately, then use
the sheet music. It would't be a big deal if you did.

I don't believe it is so important to play for memory unless you want to
become famous. The only tradition I know of relating to memorization
involves Clara Schumann, wife of Robert the composer. She was Europe's
finest pianist at the time. Pianists up to her time always used music in
performance until she presented all her recitals without. No man wanted to
be shown up by a woman and since then all piano recitals had to be performed
for memory.

Tom Labadorf
Labadorf@-----.com
Coast Guard Band
Adjunct instructor
Central Connecticut State University
Connecticut College

Date: Fri, 11 Jan 2002 22:56:13 +0200
From: "Allan Thompson" <athompson@-----.za>
Subject: Performance from memory
Message-ID: <000f01c19ae2$d14f3500$9386cba3=oemcomputer>

I was just wondering if anyone knows much about the historical practice of
performing from memory, especially as regards wind concerti. Did Stadler,
for instance, play the Mozart concerto from memory, and was this the
practice of the time? If not, then when did the practice start? I would also
be interested to hear people's opinions on the pro's and con's of playing
from memory.

Allan Thompson
athompson@-----.za

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