Klarinet Archive - Posting 000227.txt from 2011/03
From: Martin Baxter <martinbaxter1@-----.com> Subj: [kl] Purism and after? Date: Fri, 25 Mar 2011 06:41:20 -0400
On 25 Mar 2011, at 01:03, corvo di bassetto wrote:
Of course I reject the use of Haeckel bassoons for French music. Actually, I can do well without any bassoon at all.
I don't play K375 because I don't have the proper horn. I practice Mozart at home and with my students but it is out of my reach for actual performance. Tutz in Innsbruck makes good copies of the kind of instruments the Stadlers used.
Best wishes
danyel
Danyel,
Thank you for your reply, I am Fascinated! I cannot imagine that anyone who could play K375 (or K388) would deprive themselves of the pleasure just because their instrument, and those of the other players needed, were not made in Vienna in the latter part of the eighteenth century. I think you have carried musical snobbism to new heights, and next time I meet an overt purist in any musical field I shall have to adopt your approach. ( I also play bassoon and clarinet in a folk group and am always meeting those who, ignorant of the gallery band tradition, tell me they aren't "true folk." They seem happy to ignore Boehm flautists and electric basses in other groups.)
I may say it is found other than in music. My wife once directed a performance of Noel Coward's "Red Peppers" in a Festival and was told that, as Coward had written it for himself and Gertrude Lawrence no-one else should ever play it. If we may extend the argument to music I assume no-one should ever play the Brahms Quintet now that Muhlfield is dead.
I'm sorry that you can take no pleasure in Finzi's music; I think you are missing a lot, and even more in the case of Poulenc. What about Nielsen, who did ,of course number a clarinettist amongst his friends?
Baffled Regards,
Martin
PS I haven't come across Haekel bassoons. I would assume a misprint but I try not to make assumptions.
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