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Klarinet Archive - Posting 000166.txt from 1997/12

From: "Tahna Britton" <tahnab@-----.com>
Subj: Re: De Peyer
Date: Fri, 5 Dec 1997 12:40:20 -0500

Isn't that why we are suppose to study the composer and the time period in
which the piece was written? For instance, the very short, very unheard of
piece that I am doing for juries, Sarabande by William Corbett, is
obviously a Sarabande, and a Sarabande is traditionally a grave and
dignified dance in slow triple meter. If I played in one, like a waltz,
or very fast and cheerful, I obviously wouldn't be playing the piece like
the composer wanted it to be played. Am I correct or not? Also, the tempo
marking, whether the notes are legato, staccato, marcato, etc., and the
dynamic markings all give clues as to what the style is.

----------
> From: Dan Leeson: LEESON@-----.edu>
> To: klarinet@-----.us
> Subject: Re: De Peyer
> Date: Thursday, December 04, 1997 3:02 PM
>
> > From: MX%"klarinet@-----.77
> > Subj: Re: De Peyer
>
> > Makes sense to me. It would be improper to play Dixeland music with
the
> > same tone and style as a Mozart ( for example) piece. The style that
the
> > composer had in mind should be strived for.
>
> That's a nice statement. Like motherhood and apple pie. But how do you
> know what style the composer had in mind? Who decides that. Where is
> the international style governing body who concludes what that style
> is and puts out rules on it?
>
> Dan Leeson
>
>
>
> >
> > ----------
> > > From: J. Shouryu Nohe <jnohe@-----.edu>
> > > To: klarinet@-----.us
> > > Subject: Re: De Peyer
> > > Date: Thursday, December 04, 1997 4:54 PM
> > >
> > > Sort of a reply to Dan:
> > >
> > > I shall first start off by stating that what I am about to say is my
> > > opinion, and that's all. You may also consider it a vague shot in
the
> > > dark.
> > >
> > > While a tone should represent your voice, etc etc, I feel that a true
> > > performer should know how to play with the correct, classical
standard
> > > that we constantly get pounded upon--"Why don't you sound like that
all
> > > the time???" and stuff. The reason I say this, is that as a
performer, I
> > > want the audience to hear my style, my voice, yes...but what they
should
> > > hear first is Mozart's voice, Rossini's voice, Weber's voice, etc.
> > > I believe the personal creativity and uniqueness of playing should
> > > NEVER come at the sacrifice of the composers original intentions.
> > > Remember, oftimes some of the audience to don't come to hear Bob
Smith
> > > live with the Alabama Banjo Choir. They come to hear the works--the
> > > music, not the performer, draws me to the concert. And I expect to
hear
> > > the music as it was written--as the composer intended. And the vast
> > > majority of clarinet works written were written with the full,
focused,
> > > rich tone in mind. I feel if you do not play these works with such a
> > > sound, then you are not doing the composer any justice--rather, you
just
> > > want to show off your fast fingers (as the case often is).
> > >
> > > Like I said, my opinion. I shall grab some fireproof clothing, as I
do
> > > not doubt that flames may surely be headed my way...
> > >
> > > Shouryu
> > >
> > > Coming soon! A whole new Dope-onna-rope! That's right! Shouryu is
> > > changing EVERYTHING!!! A new signature with new and improved design!
A
> > > new web page with...>gasp<...USEFUL STUFF! Stay tuned in the winter
when
> > > Warm Up gets a whole new makeover!!! http://web.nmsu.edu/~jnohe
> > > (This does not mean, however, that Shouryu has a girlfriend yet.)
> =======================================
> Dan Leeson, Los Altos, California
> Rosanne Leeson, Los Altos, California
> leeson@-----.edu
> =======================================

   
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