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Klarinet Archive - Posting 000422.txt from 2010/11

From: "Shaw, Tim" <Tim.Shaw@-----.au>
Subj: Re: [kl] Sabine Meyer
Date: Fri, 26 Nov 2010 05:38:29 -0500


I find it curious that this ("Sabine Meyer") thread seems to be address every thing except her playing - dress, gender, instrument and movement have all benn the focus of attention/criticism.

I have a fairly comprehensive selection of recordings by Sabine Meyer, Thea King, Emma Johnson and Sharon Kam, to mention a few notable women clarinettists.
Their playing is subtly different but technically brilliant and a pleasure to hear. The fact thet they're female is largely irrelevent (I don't hear clues to their gender in their sound, nor do I hear anything to do with movement, although I guess if they were recording using a directional microphone, their capacity for movement would be limited and limiting.

My personal preference is to hear early classical music played on appropriate instruments by expert exponents like Tony Pay, Eric Hoeprich and Nicole Harris (another women! - whose playing is phenomenally beautiful) but their excellence is not " in competition" with others like Sabine Meyer who play modern instruments. (I think the extra keywork on modern instruments is a hinderance in most cases).

________________________________________
From: sarah elbaz [sarah@-----.com]
Sent: 26 November 2010 20:48
To: The Klarinet Mailing List
Subject: Re: [kl] Sabine Meyer

Thank you Arthur,
Sabine Meyer moves , and her movements are musical and convincing.
She is also a very lucky women , not only because of her talent and success- but also because
she gets wonderful support from her husband Reiner Wehle and her brother Wolfgang Meyer. Thank to both of them
she can survive the unbelivable sexism around her.
Sarah

> -------Original Message-------
> From: Arthur Acheson <arthur.acheson@-----.com>
> To: The Klarinet Mailing List <klarinet@-----.com>
> Subject: Re: [kl] Sabine Meyer
> Sent: 26 Nov '10 08:07
>
>
> On 25 Nov 2010, at 10:30, Taylor, Noel wrote:
>
> Music has rhythm, the body feels it - the body wants to move. Dance
> is deep in us - and after all, a lot of classical music, including
> Mozart, is based on the dances of the period. What the heck is the
> problem about moving? It's natural.
>
> Question. How natural, as opposed to learned, is the type of movement
> in the Sabine Meyer video?
> I ask this as I have worked with blind musicians and observed blind
> musicians such as Roland Kirk, Ray Charles, etc. and their movements
> are of a totally different kind. Could this be because their
> movements are 'natural' as opposed to affectations?
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