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Klarinet Archive - Posting 000538.txt from 2001/05

From: "Rien Stein" <rstein@-----.nl>
Subj: [kl] apparently, but not really of list
Date: Tue, 22 May 2001 19:51:59 -0400

This week the Koningin Elizabeth concours in Brussels, Belgia, is in its
final stage, this year it is again for violin players. The Belgian
television is broadcasting only the free choice of the candidates, alas.
Tonight an I think Korean girl played the Brahms concerto. She played it as
if at were a set of technical etudes, which she hadn't yet completely
mastered, the orchestra was just kind of a background noise, it seemed. The
orchestra, especially the conductor, however, was extremely sensitive to
what she was doing. Yet the way she played gave me several times the feeling
that it was impossible to do what it was assumed to do.

Now on this list are a few people with a lot of experience in ensemble
playing and in playing with orchestras. Maybe some of them can respond to
the questions this girl posed upon me.

The minor question: after she had played the condector hugged her off stage
and patted her on her shoulder, as if he wanted to convince her she had done
extremely well - as you understand from my previous remarks she had not done
so. Can this be a misinterpretation on my side, or was the conductor trying
to express something else like well done, but ...?

To be somewhat more specific: he behaved the same with the next candidate.
This guy from China played the Sibelius concerto. He did so wonderfully,
especially the second part was played as to make you feel how homesick he
is.

More important: Sometimes I had the feeling that (part of) the very good
orchestra was ready to start playing, but by the way she played hardly could
find the right moment to strike up, despite what the conductor did. Is that
possible? (As I am only a mediocre amateur, playing in intermediate level
amateur bands, I never had the experience to play with soloists of our own
level. The few times one of the bands I was with played together with
soloists, those were sufficiently professional to take over. It actually was
the other way around, as should be.)

What I learned from the girl is that it is very important to be acquainted
with the score. Tonight I set on my stand the Krommer concerto (op 36) in
E-flat. I just try to play it as perfect and as nice as I can. If ever I am
so lucky to find a pianist to play it with, we'll work out together how to
play it. I wondered how you professional guys, wih of course a lot less of
time to rehearse, do this kind of things.

Rien

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