Klarinet Archive - Posting 000364.txt from 2002/06

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] Schumann's 'Romances'
Date: Wed, 12 Jun 2002 04:40:06 -0400

On Wed, 12 Jun 2002 00:34:45 -0700 (PDT), w7wright@-----.net said:

> > What about the 'modern' publisher -- is it OK for them to publish the
> > clarinet part and leave the decision as to whether or not to play it
> > up to you?
>
> I hope the above...

...don't you mean, 'below'?

> ...doesn't sound too belligerent, but I want my attitude to appear in
> the record also.
>
> I *do* like to know what the composer intended; but if the composer
> decided to reveal his music to the world, why shouldn't each of us
> play it our own way if we choose? If someone tells me that my way
> sounds awful.... well, they may be correct, but this is not what
> you're talking about.
>
> It's a completely different question when copyrights or performance
> licenses are involved and I have willingly assumed an obligation, or
> when I claim (explicitly or implicitly) to be playing it as the
> composer intended. But the stance that I must play it the composer's
> way or I'm incompetent or dishonest always rubs me the wrong way.

Bill, it seems to me that you're answering here a question different
from the one you quote.

We had something like this discussion when we talked about the
difference between a *performance* that doesn't correspond with what the
composer wrote, and an *edition* that doesn't correspond with what the
composer wrote.

You can perform a piece how you like -- even *very* differently from the
printed score. People will probably complain, but it does no lasting
damage -- well, usually not, anyway.

But to produce an edition that differs from the composition *destroys
information* if the differences between the edition and what the
composer wrote aren't made explicit. And even if the differences are
made explicit (in accompanying text or in the piano part, say) sometimes
it's still difficult to have what the composer wrote in front of you, so
effectively the information *is* destroyed.

The case of the Schumann Romances is a sort of half-way-house, because
providing the clarinet part encourages clarinettists to buy them and
play them; whereas telling you that Schumann didn't want them played on
the clarinet (presumably) discourages clarinettists from buying and
playing them. So in a way, the publisher is offending and explaining
the offence at the same time.

I do find amusing though, as I said before, the blatant implication by
that particular publisher that what they wanted to do trumps what even a
genius like Schumann wanted done.

My own view is that I wouldn't play the Schumann Romances in a concert,
but I've enjoyed the experience of playing them when people bring them
to me in lessons; and I've found it interesting to try to identify and
to capture the quality that I imagine Schumann was afraid of 'losing' if
they were played on the clarinet. (To do that, you have first to
imagine them on the oboe, of course.)

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
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