Klarinet Archive - Posting 000374.txt from 2002/02

From: "Robert" <LetsReason@-----.com>
Subj: [kl] Musical Expression and Spontaneity
Date: Wed, 20 Feb 2002 10:56:10 -0500

Seeing that Tony has sparked some response from the list concerning musical
expression (among other things), I was reminded of a recent point of
"discussion" in the trio I play in (Cl, Cello, Pno). First of all, let me
say that I am grateful to be in a group like this with such true musicians.
I really am.

We have been playing the Brahms trio TO DEATH this year (since the end of
September). In response to that, it appears that our cellist is seeking to
"keep it alive" by being spontaneous in his interpretation of the musical
lines and ideas. This is all fine and dandy and I enjoy being number two
and following someone's musical ideas-responding to them. I think it is fun
and enlightening.

Well, one reason we are STILL playing the Brahms Trio for Cl, Cello and
Piano is that the pianist is using it on her Accompanying Recital (though
she is not really "accompanying" any more than we are in this piece!). I
took issue with our cellist's continuing to be "spontaneous" and wanting to
be that way on her recital. My argument...er...reasoning for this was:

1. This is a graduate recital, not a public performance for some highschool
or local Women's League. This is for her grade and the people playing are
all DMA's or professional performers and have prepared this piece.
2. The nature of Brahms to me is one of such depth that a "spontaneous"
interpretation of a movement's emotion or line does it injustice. I believe
it should be explored, yes. But then a focus on a particular approach
should be given and spontaneity from within that understanding can come
forth.

All throughout this year (academic year) we have gone from "coach" to
"coach" and masterclass to masterclass with absolutely NO agreement on the
approach to playing the piece from any outside sources. Internally we have
explored different ideas with style, emotional intentions, tempi, etc. This
is all wonderful and enlightening as to how wonderful the piece really is!
But when it comes to a performance such as this, I feel it is better to stop
"exploring" and start "focusing" so that we give the impression of "THIS is
how we see what Brahms is trying to say".

I am curious as to the approach of you professional icons out there. When
you sit down to play a Mozart piece for the umpteenth time, Tony, does your
conductor have an idea how fast you will go, what direction you will take
the piece? How about you Sean? In the opera, does the conductor slow
everyone down on the performance if you decide to pull back on a passage
because it struck your fancy that evening? Of course, I am talking chamber
music here, and three people at most in this situation. Very intimate.
Would that change your (all of you out there) approach? Are you likely to
sit down in a professional situation and "let's see what we come up with
this time" during a performance?

I look forward to your responses.

Robert

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