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Klarinet Archive - Posting 000064.txt from 2004/05
From: "Gillian Craven" <gillian_craven@-----.com>
Subj: RE: [kl] Mozart concerto approaches
Date: Wed, 5 May 2004 05:19:44 -0400
Dan,
By HIP, I mean Historically Informed Performance. Sorry that was unclear ! I
agree with what you say. I think that it would have been a more important
factor to Meyer due to the time of her recording and I haven't found any
evidence to say that Goodman considered it. I just wasn't sure about Brymer
since although performance practice was not prominent in his time, I
wondered if he himself had done research into the area to produce a
'historically correct' performance. Maybe he just worked hard at the
Concerto to produce a great recording without taking anything else into
consideration ??
Gillian
>From: "Dan Leeson" <dnleeson@-----.net>
>Reply-To: klarinet@-----.org
>To: <klarinet@-----.org>
>Subject: RE: [kl] Mozart concerto approaches
>Date: Tue, 4 May 2004 15:57:37 -0700
>
>Gee Gillian, you ask a good question but in an unclear way.
>Maybe I'm missing something, but what do you mean by HIP
>movement? Are you suggesting that somehow their body motion is
>part of their body of performance practice inforrmation?
>
>I cannot believe that Meyer would not have concerned herself with
>issues of performance practice, but I am less sure for Brymer and
>not sure at all that the subject interested Goodman. I think
>that it was terra incognita to him.
>
>I add that Meyer is much more likely to have been interested in
>and studied performance practices than Brymer and Goodman because
>she is younger. And when she was a student, the subject was hot.
>Brymer was a considerably older man and performance practice was
>not even a taught discipline when he was a young student.
>
>Dan Leeson
>DNLeeson@-----.net
>
>
>
>
>
>
>
>
>
>-----Original Message-----
>From: Gillian Craven [mailto:gillian_craven@-----.com]
>Sent: Tuesday, May 04, 2004 2:45 PM
>To: klarinet@-----.org
>Subject: [kl] Mozart concerto approaches
>
>
>Hello all,
>
>You are probably sick of me asking performance practice questions
>on this
>list but this is the final one, I promise!!!
>I have to do a seminar on different approaches of playing the
>Mozart
>Concerto. I have listened to several recordings, read many
>articles, reviews
>and messages in the archives and have now have a broad base of
>information
>and opinions to discuss as well as my own of course.
>As part of the seminar I have been assigned the task of comparing
>recordings
>of Benny Goodman, Jack Brymer and Sabine Meyer in relation to
>their
>performance intentions.
>In all my research, I haven't discovered what Meyer and Brymer's
>thoughts
>were on the HIP movement when shaping their performance. Does
>anybody know
>whether trends in performance practice of the Concerto were
>important issues
>to them ? Also, does anybody know where I can find reviews of
>Jack Brymer's
>recordings?
>If anybody can help, I would appreciate it greatly !!
>
>Thank you
>
>Gillian
>
>Express yourself with cool new emoticons
>http://www.msn.co.uk/specials/myemo
>
>
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