Klarinet Archive - Posting 000312.txt from 2005/02

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Re: re orch Quintets arbitration?
Date: Mon, 21 Feb 2005 22:45:18 -0500

Message in code to Steven Silverstein concerning his comments on
the matter of Quintet arbitration.

"SILVERSTEIN: DU BIST A PUTZ!!

End of scholarly discussion.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Steven Silverstein [mailto:silverlionltd@-----.com]
Sent: Monday, February 21, 2005 6:55 PM
To: klarinet@-----.org
Subject: RE: [kl] Re: re orch Quintets arbitration?

Gentlemen,
least be it construed as taking sides in this "honor
of composers intent" I hope some will be ammused. For
25 years befor returning to full time clarinet, I was
immersed in the rennaissance as a cornetto an recorder
player. There are and were at the time of my
involvement, similarly wide range of levels of
performance as there are with so-called contemporary
instruments.
I've sat thru countless 100s of lectures on how
original barless notation of say 1500 is necessary to
really understand the music. I've heard and been party
to "listen to how important these authentic
instruments are' to the reality of what the music is
saying. Ah, how ironic in some cases those poorly
made anti copies were played poorly. Some scholars
reprimanded some players for using krummhorns in music
25 before any dated iconographic or textual permission
slip appeared.
I see that both positions have righteousness and a
sense of defending ones turf. Some things change so
gradually that if we really respect Mozart and Brahms,
shouldn't we ask them whether our modern adaptations
are to their taste or are they so different and easy
to play that the technical, ergonomic, and sonority is
lost. So we have communication difficulty no?
Any solid musician should venture into the
renaissance,
and orchestration was for the most part catigorical
and not very specific until needed (late 16th century
to genralize) very practical for what was available at
that time. Times are still changing, so while I would
love to defend Mozart on his choice and spirit, I'll
choose a modern Wurlitzer over any fine original
Grenser or anyones copy. However I'll admire and
defend my great collegues who devote their lives to
the older forms! Steven
Silverstein

http://mail.yahoo.com

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| costs a couple of bucks - what is the list worth? |
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