Klarinet Archive - Posting 000082.txt from 2001/04
Subj: Re: [kl] RE: vibrato
Date: Thu, 5 Apr 2001 05:30:29 -0400
At 01:39 PM 04/04/2001 -0800, you wrote:
>.........as a person not making his living in the world of painting, how
>one sees Turner vs.
>Picasso is a very personal thing that doesn't require an explanation. As
>a professional musician, one does not have that luxury in being casual
>about what we do when executing our craft.
But the analogy seemed very correct - that one painter who uses specific
techniques to express vs. one who uses completely different techniques to
express and may not like the other's (that's made up by me by the way)
techniques, is very similar to a person who likes or dislikes vibrato on
the clarinet for the same, educated, personal reasons - personal preference.
It seems to me that the general argument presented by Dan is that, because
someone makes a living playing the clarinet or teaching the clarinet, or
some other serious avocation within the musical arts - and who plays a
piece written by someone else, we have a responsibility
to.............consider playing with vibrato? Did I misunderstand? That
was in conjunction with performance practices (that cannot be verified) of
musical expression on the clarinet..........
Hmmmmm...................this seems a bit of a stretch to me. I tend to
lean more towards Stewart's explanation for why he appreciates only certain
kinds of vibratos - and I see no evidence offered yet that shows his
explanation is any less considerable than anyone else's.
Director, Symphonic Winds
Illinois Wesleyan University
School of Music
Bloomington, IL 61702-2900
Phone: (309) 556-3268
Fax: (309) 556-3121
"A man never discloses his own character so clearly as when he describes
Jean Paul Richter (1763-1825)
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