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Klarinet Archive - Posting 000181.txt from 1997/12

From: "Tahna Britton" <tahnab@-----.com>
Subj: Re: De Peyer
Date: Fri, 5 Dec 1997 12:40:35 -0500

Okay, the Harvard Dictonary of Music states that the sarabande is indeed a
dignified dance, athough it also implies the dance was sexual in nature. I
knew this and the fact that the accent is on the second beat, before you
decided to impress me (insult me?) with your superior knowlege. Mr. Leeson,
I love to learn, and I have a lot to learn, but I will not tolerate being
insulted. Please address me with a little more respect.
I'm sorry I should have stated everything I knew about the sarabande, so
you would not think I was half-baked. Also, it is not at all my intention
to say that tempo markings, and articulation are all that determines the
style of the piece, I mean to say that those things play a part in helping
me to understand what the composer had in mind.
Also, what does it matter wheter or not I know anything at all about the
sarabande, if I understand you correctly, who can govern style? What does
it matter if I understand the nature of what I'm playing or not? Whose to
say I'm right or wrong? Isn't that what you said in your first post on this
subject?

----------
> From: Dan Leeson: LEESON@-----.edu>
> To: klarinet@-----.us
> Subject: Re: De Peyer
> Date: Thursday, December 04, 1997 8:11 PM
>
> > From: MX%"klarinet@-----.59
> > Subj: Re: De Peyer
>
> > 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.
>
> Are you suggesting that "style" is restricted to the matter of tempo
> as in the example you gave above? I think you need to understand
> the meaning of the words "performance practice" which is what I think
> you mean to be talking about.
>
> For example, the sarabande is not a dignified dance in the least. It
> is slow, true. And it is in triple meter true. But the accent is
> on the second beat and the dance was sexual in nature. Supposedly
> some body movement occurred on the second beat that was to give the
> impression of sexual congress. Now before you start talking about
> style as limiting itself to interpretations of articulation types
> and patters or to tempi, you first have to understand the nature of
> the thing you are playing.
>
> Style is a triple magnum of champagne, and you are talking about
> a half cup of very bad white wine.
>
>
>
> >
> > ----------
> > > 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
> > > =======================================
> =======================================
> Dan Leeson, Los Altos, California
> Rosanne Leeson, Los Altos, California
> leeson@-----.edu
> =======================================

   
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