Klarinet Archive - Posting 000456.txt from 2010/11

From: "Bill Hausmann" <bhausmann1@-----.net>
Subj: Re: [kl] Sabine Meyer, but actually,text and meaning
Date: Fri, 26 Nov 2010 20:39:49 -0500

Does this mean we can now play the Mozart concerto on tenor sax and Dan
Leeson can't complain?

Bill Hausmann

If you have to mic a saxophone, the rest of the band is TOO LOUD!

> -----Original Message-----
> From: Robert Howe
> Subject: [kl] Sabine Meyer, but actually,text and meaning
>
> > Hall himself draws a comparison
> > between drama and the period instrument movement, notably the focus
> on
> > both getting the composer's text right and getting the interpretation
> > right. There's a paragraph where he contrasts this with the common
> and
> > casual practice of cutting and even rewriting Shakespeare --
> something
> > which is unthinkable with e.g. Pinter or Beckett -- and urges that we
> > should place value on every word and phrase, just as musicians do
> with
> > notes.
>
> This displays the common, insipid modern obsession with Text. What is
> more
> important, the text of a work or the meaning of the work? If a small
> "unthinkable" re-write in Pinter, or dropping a scene in Shakespeare,
> or
> playing a Mozart symphony on a modern orchestra will permit one to
> experience the work in a way that better meets the artists'
> interpretation,
> what is wrong with that? I mean really, guys--Pinter and Shakespeare
> and
> Mozart were all active performers, they understood that what the auteur
> writes is neither final nor definitive, that theater is a living art
> which
> requires accommodation to local artistic circumstances. Indeed, if
> what the
> auteur writes were final and definitive, you clarinet guys and gals
> would be
> sitting out the g minor symphony...
>
> Cheers
>
> Robert Howe
> _______________________________________________

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