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Klarinet Archive - Posting 000406.txt from 2004/08

From: Bill Hausmann <bhausmann1@-----.net>
Subj: RE: [kl] Colorizing (was K. 581 performance practice)
Date: Fri, 13 Aug 2004 18:37:16 -0400

At 11:32 AM 8/13/2004 -0700, Andy Raibeck wrote:
>- I consider the colorization of black & white movies to be a form of
>vandalism, ...

I must disagree. While colorized versions of certain classic movies can
add a little spice, the novelty generally wears off. Still, no HARM is
done, and in fact much GOOD, since the first step in the process is
restoring the original black and white version to get the best print
possible before starting the coloring process. As long as the original is
not subsequently destroyed and supplanted by the colorized version, no
problem. And if you don't like the color, turn the color intensity on your
TV down to zero and it will be gone!

This does not apply to ALL movies, of course. Many movies in the 1930's to
1950's were filmed in black and white not so much as an artistic choice,
but purely because of economics. Color was more expensive to shoot, and
only certain pictures were budgeted for it. Those movies are fair game
(Astaire-Rogers musicals, etc.). Where black and white was used for EFFECT
("Young Frankenstein" comes to mind, along with the entire film noir
genre), colorizing would be a huge mistake. I guess I see it like early
keyboard music. Any form of klavier was acceptable for performance since
the notes and harmonies, not so much the tonal colors, were being exploited
by those composers. In later music, where tone colors and orchestrations
become significant factors in the music, changing instrumentation alters
the intended effect, and is done at great peril. Or, another way of
looking at it, is a new, heavily edited print version of a piece so hard to
swallow if it is packaged with a facsimile of the newly RESTORED urtext?

Bill Hausmann

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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