Klarinet Archive - Posting 000070.txt from 2004/11

From: "D. Blumberg" <FilmPromotion@-----.net>
Subj: [kl] Problem with the Mozart Concerto
Date: Wed, 3 Nov 2004 07:54:09 -0500

I've now taught for over 22 years and this one is the first that I've
heard of:
A student of mine last weekend had his All-Catholic Audition which the
solo piece was the Mozart Concerto Mvt 3 KELL/International edition.
The audition specifically names the publisher and it is expected that
all players not only use the edition named but follow it to the letter
(articulation, etc)
what is printed. I'm fine with that - no problem. I don't like the
Kell edition at all, but if that's what the deal is, that's what the
deal is.

So, my student comes in to the audition with the Kell edition and
looks at the stand which has the music marked asto what section to
play. Problem?
Uh yeah........ The edition that was in front of him WAS NOT THE KELL
EDITION!!!!! These morons used another edition NOT THE REQUIRED ONE
and the articulations were very different. So now my student sits
there with a dilemma - does he play what's in front of him basically
sight-reading the edition (my guess is that they put the
Fischer/Bellison in front of him but he doesn't recall at all (but for
100% sure it wasn't the Kell and was very different articulation and
visually asto page layout, etc). Or, does he set what they put in
front of him aside and play what he knew was the required edition
marking on his music the section asked for and just play it with the
comfort of what he practiced.

He played what was in front of him.

These audition committees as told upfront to judge on exactly what is
printed and no variations are accepted. If the edition is slur 2
tongue 2 and the player slurs all or tongues all it is considered a
mistake not an interpretation (as put by the head of District
Auditions "these is a band director festival not a private teacher
festival").

So hopefully the goofballs hearing him were also looking at the
edition that they put in front of the players also (they are seated at
a table separate from the performer).

What would you have done in that situation? I probably would have sat
down, looked at the different edition and asked the judges (or the
guide) why there was a different edition in front of me and did they
expect us all to sight-read the edition or play what we actually were
told to practice.

David Blumberg
http://www.toptempo.com

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