Klarinet Archive - Posting 000162.txt from 2010/10

From: Martin Baxter <martinbaxter1@-----.com>
Subj: Re: [kl] Weber concerto No. 1
Date: Wed, 20 Oct 2010 15:41:45 -0400

Vann,
I have found this an interesting thread, so I'll add another two-penn'orth. I find that playing works on instruments contemporary with their composition can give the player, and the listener insights into why the composer wrote what he did, and why certain phrasings seem preferable. I don't think that doing it guarantees an 'authentic' performance, whatever that may be, but in a way it seems to me that it is like consulting an Urtext edition (if it is a genuine one) and seeing what the alternatives may be; also,, one hopes, discovering why the editor has preferred on reading to another. One sometimes hears things that give a whole new concept of how a work could be played and what the composer may have intended. I once tried to play the Vanhal sonatas on an eight key instrument, with contemporary mouthpiece and small,hard, tied-on reed, although I couldn't manage reed on top!!! I can't say I discovered exactly what the composer wanted, but I think I found some things that I'm pretty sure he wouldn't have wanted.
I wish someone else would add their comments, I think this whole period instrument business is fascinating, and I know that there are people out there whose comments will be far more knowledgable than mine.

Best wishes to both you and Jennifer,
Martin

On 20 Oct 2010, at 19:59, Vann Turner wrote:

Jennifer,
I commented to offer a perspective on "period music" that is different from
what is usually parroted on this board: Some "name" says it and dozens
reiterate it as unwavering gospel.

It is only opinion that authentic instruments should be used for period
music, or that there is greater value in experiencing the music with period
instruments.

There are others who hold other opinions on the matter.

----- Original Message -----
From: "Jennifer Jones" <helen.jennifer@-----.com>

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