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Klarinet Archive - Posting 000795.txt from 1999/09

From: Tony@-----.uk (Tony Pay)
Subj: RE: [kl] Features, styles and the Copland concerto
Date: Fri, 24 Sep 1999 05:21:01 -0400

On Thu, 23 Sep 1999 16:28:02 -0700, kevinfay@-----.com said:

[snip]

> --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.

[snip]

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

I think the habit of trying to understand why things are played as they
are in these sorts of circumstances is the best way to decide whether we
can justifiably change them.

The argument

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

...(supposing he hadn't, of course) wouldn't necessarily make someone
playing with vibrato, wrong.

You yourself produce a more detailed argument when you mention that the
later passage is written swung.

In fact, there are lots of things that Goodman does on that recording
that I don't do when I play the concerto.

But not that one.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN family artist: www.gmn.com
tel/fax 01865 553339

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