Klarinet Archive - Posting 000433.txt from 2005/02

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Transcriptions
Date: Mon, 28 Feb 2005 10:58:09 -0500

This argument essentially says, in the matter of playing a work,
expediency should be the ruling factor; i.e., if you don't have a
basset horn, select a violin. It is very much an arguable issue,
of course, but this kind of careless substitution that impacts
the aural character so radically should not be practiced without
a lot more thought in it than simply "what's available."

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Oliver Seely [mailto:oseely@-----.edu]
Sent: Monday, February 28, 2005 7:49 AM
To: klarinet@-----.org
Subject: Re: [kl] Transcriptions

Thanks, Adam, for the reference. In reading the piece I found
myself
wanting to blurt "Stop musing and start playing!" Also, the
author didn't
say much about what one does if a basset hornist is nowhere to be
found but
a violinst is!

Anyway, can anyone here comment on what was done to some of Cole
Porter's
songs in "De-lovely"? I saw the DVD the other night and although
I've
never been much of a fan of Porter's songs, it seems to me that
some of the
arrangements created in the movie were a bit of a stretch from
how I
remember them. Sorry I can't be more specific. Comments,
anyone?

Oliver

At 05:50 AM 2/28/2005, you wrote:
>Not directly clarinet related, but directly related to one of
our favorite
>battered topics. Perhaps a fresh perspective:
>
>On Transcriptions and the Nature of Compositional Identity
>By DANIEL M. SULLIVAN
>
>http://www.juilliard.edu/update/journal/j_articles453.html
>
> -Adam
>
>
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