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Klarinet Archive - Posting 000581.txt from 2000/07

From: Jay Webler <>
Subj: Re: [kl] enthused musings upon Mozart Concerto
Date: Tue, 18 Jul 2000 14:04:18 -0400

I presently have 3 students studying the Mozart. One of them is an 8th grader.
When we went through the process of choosing a concerto to work on I played
and number of them for each student. Among them were: Brahms 1st and 2nd
Sonata, Weber Concertina,
and the 2nd Concerto, Saint Saens Sonata. Each on said that they would
prefer the Mozart. I cannot say
that any of them were really ready at the time of the decision, but each
one has worked very diligently on their
assigned movement. With the Mozart I am able to drive home many of things
that I am trying to work on
through their technical excercises. I'm glad I didn't know I was not
supposed to introduce the Mozart it's
been great to see young players want to play something besides the theme
songs from Star Wars.
Further evidence that, at times, ignorance is bliss.

Jay Webler
Jay's Clarinet and Percussion

At 11:33 AM 7/18/00 -0500, you wrote:
>I always hesitate to jump into these kinds of discussions, but I thought I
>would offer from a personal perspective.
>Lelia, more people may agree with you than you think. Keep in mind that
>there are many, many teachers on this list who teach Mozart to the young
>student who have not commented and probably never will. There are
>thousands more who are not even on the list who feel as you do. The list
>is merely a forum for those who are on it to express opinions, discuss
>scholarly issues, present information, wheter it is factual or only partly
>factual, etc. but it is NOT a decision making body that can affirm or deny
>a philosophy - it can only persuade by way of presenting information,
>opinions, and experiences.
>That having been said, I continue to teach Mozart to students as early as
>possible - usually beginning with the second movement. I have had students
>play it after only two or three years of study - quite successfully I might
>add (in terms of the goals we set for "learning" it - eg., good beginnings
>and ends of attacks at all dynamics, good control of technical passages,
>good understanding of phrasing, good understanding of the eingang and it's
>role in the work, good understanding and awareness of form, etc.). In
>fact, I played it myself after only 9 months on the instrument as a 7th
>grader. 3rd movement happened the next year. I still have recordings of
>those performances and often play them when the very young students get
>discouraged......why? For the very reasons you mentioned Lelia - everyone
>can appreciate Mozart's music. It never ceases to amaze me how students
>take to Mozart after having played other "more appropriate" pieces for
>their age level. Their motivation to practice, play, listen, achieve, and
>understand are all piqued by this wonderful concerto. And the funny thing
>is Lelia, I have taught the work to so many student, one would think I
>would be tired of it. But I never am. It is a thrill to watch a young
>student experience Mozart's Concerto for the first time. Of course - they
>should have access to two or three recordings always - and we can help
>students with that as teachers.
>So........even though there is strong sentiment both ways with regard to
>teaching and learning music and where Mozart should or should not be
>introduced in that process, you don't have to agree with even the most
>ardent scholar, performer, etc. to be successful with your students. I
>wouldn't even be unhappy if you disagreed with me! : )
>Until you decide your approach is not correct, don't be dissuaded by what
>others say. Stick to your guns!
>Roger Garrett
>Roger Garrett
>Professor of Clarinet
>Director, Symphonic Winds
>Advisor, IWU Recording Services
>Illinois Wesleyan University
>School of Music
>Bloomington, IL 61702-2900
>(309) 556-3268
>A Clarinetist's Revenge is sometimes personified by the following excerpt
>from the London Daily News, circa 1926:
>"The saxophone is a long metal instrument bent at both ends. It is alleged
>to be musical. As regards markings, the creature has a series of tiny taps
>stuck upon it, apparently at random. These taps are very sensitive: when
>touched they cause the instrument to utter miserable sounds suggesting
>untold agony. Sometimes it bursts into tears. At either end there is a
>hole. People, sometimes for no reason at all, blow down the small end of
>the saxophone which then shrieks and moans."
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