Klarinet Archive - Posting 000658.txt from 2004/01
From: "Patricia A. Smith" <arlyss1@-----.net>
Subj: [kl] Composers' employ of articulation and other devices in work in general
Date: Wed, 21 Jan 2004 08:56:25 -0500
Tony Pay wrote:
>I'd say that doing that is enough to convince you that our attempt to give the best performance of a piece is not necessarily wholly about identifying what the composer 'wanted'.
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>To my mind, this problem is simplified by accepting that different markings in different parts need not be thought of as 'discrepancies'. For example,Stravinsky quite often creates clarity in a legato line by writing staccato in another, unison part. The result of mixing the sounds of two players obeying two different notations is what he wants. An extension of this
>notion can apply here.
>
>The phenomenon goes much farther back, of course. Mozart, for example, very often writes different slurs in different parts. It's highly naive to attempt to rationalise *his* slurs.
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>Your (a) and (b) are not the only way of thinking about it, as the Stravinsky example shows.
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>But I accept that a discussion -- or at least, a choice -- is almost always involved. Just as the balance between the staccato player and the legato player in the Stravinsky example allows of different results in practice, the choice between the various blends of clarinet staccato and string legato in, for example, 'Sept Trompettes' in a particular performance is what will
>determine the character of the bars in which those different notations coexist.
>
>Of course, whether that character contributes to a coherent vision of the piece can only be judged in context.
>
Beautiful writing as always, Tony.
I am wondering if I could possibly say that, perhaps a composer, when
working, sometimes will utilize particular contrasts in the
articulations between two instruments that create a particular effect
almost as a verbal storyteller might place stress on particular words or
sentences, or an actor might deliver his/her dialogue in a particular
way vice another fashion - or a writer, (Perhaps a better comparison,
since we are talking about the creation of a work, rather than its
interpretation here) will write dialogue in such a way that certain
words' meanings are thus and so, rather than different, considering the
context of the setting of a story, etc.? The music the composer is
creating is much like a story or play or myth a writer is writing or
relating, much more so than, say, a newspaper article or an encyclopedia
entry?
I apologize for going a tad OT; however, I really am interested in
Tony's view of this - and others. Also, one of the reasons I have
continued to love the clarinet over these years, is its flexibility in
tone, in effect, in sound quality - there are so many many things that a
truly gifted player can make come out of the end of the horn and be
music! Again, to veer a bit off the beaten track, this brings to mind a
recital I had the privilege of hearing a few years ago at the University
of Richmond. Our own David Niethamer performed the premiere of a work
by composer Allan Blank. Dr. Blank had written a work which employed a
number of different "voices" if you will, or "moods". I realize some
people will find this aspect of discussing music in general, and the
clarinet in particular, a bit discomfiting, but I found this work
particularly enjoyable not only because of David's skill in interpreting
the work, but also because of the emotions and thoughts it evoked in
me. It wasn't simply a reproduction- a "newspaper article"; it was a
myth, a story. David, if you have a few moments, it would be wonderful
to find out a bit more about this and other of Dr. Blank's works for
clarinet that you have performed.
Again, sorry for the length.
Patricia A. Smith
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