Klarinet Archive - Posting 000569.txt from 2003/10

From: <tony-w@-----.uk>
Subj: Re: [kl] Who speaks?
Date: Tue, 21 Oct 2003 15:34:54 -0400

> On Wed, 15 Oct 2003 12:39:11 -0400, joseph.wakeling@-----.net said:
> > Here's something worth bearing in mind: you are *always* expressing
> > yourself, or at least some part of yourself, when you play. How can
> > it be otherwise?

Tony Pay siad:
> I couldn't put it better.
> Another way of expressing it is: what's required of you is in the realm
> of 'being' rather than in the realm of 'doing'.
> (I'll leave you to judge where "How to sell slow movements" lies in all
> of this:-)

The article - cut short, and T.P`s short remark , "I couldn't put it
better";
and previous posts re this seems to be so logically summarised, yet I can`t
help but think of a 'more obvious?' teaching.
*Learn about the composer, and how he/she may have wanted the music to be
played*. What we have seen in this discussion is of course a break down of
how to go about this. We may all have different ideas, but no matter how
much or how little of our own personality or technical skill we input into
our playing, the composer`s intentions will to some degree become submerged
by our own choices, which IMO is not too good. When we play, we always put
ourselves on the line - to be judged - and we will always 'reap the benefit'
of someone`s comment, be it favourable or otherwise. So I would summarise in
this way (as above) composer first and foremost, and performer`s judgement
to be always based on this. There is therefore, to me, not much room for
personal preferences, unless one is a 'showman'.
Tony W.

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