Klarinet Archive - Posting 000022.txt from 2010/12

From: "Tom Servinsky" <tompiano@-----.net>
Subj: Re: [kl] Sabine Meyer & movement
Date: Thu, 02 Dec 2010 22:17:37 -0500

List
OK, I get it. Some of you don't like excessive movement. Some of you are OK
with it. Some of have stated your opinion over and over. Can we now bury
this issue and move on?
Three weeks of bantering back and forth whether or not you agree with a
particular artist's approach to HIS or HER musical concept is neither here
or there. It is what it is and I let that fall into individual musical
expression. It's called theatrics. If you like it, watch it. If you don't,
close the eyes.
There's many things I find distracting in musical performance, like looks of
complete boredom on orchestral player's faces during a major work, or
yawning repeatedly.
But painting a very vibrant artist such as Sabine Meyer (who pours her all
into her music) as a carnival-hack,isn't one of them.
This is a very talented lady with much to say. As a teacher of advanced
students, I for one, am happy to introduce this great artist to my students.
The younger crowd connects well with how she conveys her emotions into her
music.

Tom Servinsky
----- Original Message -----
From: "Fred" <vze2bsbs@-----.net>
To: "The Klarinet Mailing List" <klarinet@-----.com>
Sent: Thursday, December 02, 2010 5:00 PM
Subject: Re: [kl] Sabine Meyer & movement

>I guess we have to distinguish between movement and
> MOOOOOOOOOVEMENT. Of course we all move when we play, emphasizing
> the emotional impact that the music is having on us. That is normal-
> we are not made of stone nor are we digital, reproducing exactly and
> without emotion the notes we find on paper. BUT, Ms. Meyer's (and
> others I have seen) movements are EXTREMELY exaggerated, bizarre and
> to me at least poor stage presence. THAT is what the problem is. Is
> she trying to say, my playing is greater than yours, so my MOVEMENTS
> shall be too? Is it an attempt to imply that a great artist feels
> something that we doodlers don't? Bah-low-nee. I wonder if she
> moved so much when she first hit the public eye- when we didn't know
> her and were sizing up her ability to play, and not her ability to
> wiggle. What is the next step up in performance practice- playing
> while suspended upside down by an ankle from a rope while spinning a
> hoop with the other ankle? Did Mozart write for that position?
>
> Why don't we ask her directly? How would we do that?
>
> Fred
>
> OK, I have calmed down- it just really looks bad to me and I believe
> it is totally unnecessary. It adds NOTHING on all levels. Not
> movement- EXCESSIVE and bizarre movement.
>
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