Klarinet Archive - Posting 000792.txt from 1999/09

From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subj: RE: [kl] Features, styles and the Copland concerto
Date: Fri, 24 Sep 1999 05:20:58 -0400

Tony Pay wrote re "swinging passage Q"

<<<I would say that it's not at all surprising that Goodman understood that
the beginning of that passage wasn't to be swung. I think that swinging
it in a way demeans Goodman's intelligence, not to mention Copland's. >>>

I agree w/ much, if not all. of Tony's post. I'd be a bit more empirical,
however--the analysis goes like this:

--concerto written for Benny;
--Benny knew how to swing;
--when recording it with the composer conducting,
--Benny didn't.

This is good enough for me, without an in-depth analysis. I suppose it's
not great scholarship to assume that the composer and the intended discussed
the piece in detail prior to recording it, but I can live with that. I make
that assumption, an also assume that Messrs. Goodman & Copland agreed that
this passage should not be swung. I can only surmise that the composer &
the intended wanted the concerto as a whole to have an overall structure,
from lyrical through the cadenza to reckless jazzy abandon. Copland writes
proto-swing in the syncopated section later in the piece--I assume that if
he wanted passage Q swung, he would have written it that way.

Of course, you may not feel bound by the composer's intention. I do.


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