Klarinet Archive - Posting 000218.txt from 1997/12
From: Jacqueline Eastwood <eastwooj@-----.EDU>
Subj: Music & Sex was Re: De Peyer
Date: Fri, 5 Dec 1997 15:23:37 -0500
On Thu, 4 Dec 1997, Dan Leeson: LEESON@-----.edu wrote:
> 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.
> Dan Leeson, Los Altos, California
> Rosanne Leeson, Los Altos, California
Dan, this reminds me of a stunning revelation told to me by my 10th grade
English teacher when I was preparing notes for a speech against the
burning of rock 'n' roll records. He said, "You know, when they're
singing about rocking & rolling, they don't really mean dancing!" I was
14 or 15 at the time -- what a shocker! (OK, maybe I was a little naive,
but times were different then.) Once I knew "the code", this kind of
music took on a whole new dimension for me.
Decades later, Dan Leeson has managed to shock me once again by informing
us all that the Sarabande is actually representative of something not as
stately or courtly as I had previously imagined. I will never listen to
a Sarabande in the same manner again. In fact, all works containing
sarabande movements will now be organized next to the Led Zeppelin and
Aerosmith in my collection.
(Didn't know I was a crazy rock 'n' roller, didja, Dan? Or that I have
sex on the brain permanently? I especially enjoyed the story about the
clarinet lesson that was, um, postponed!)
Have a nice weekend....
University of Arizona/Arizona Opera Orchestra