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Klarinet Archive - Posting 000020.txt from 2010/12

From: Fred <vze2bsbs@-----.net>
Subj: Re: [kl] Sabine Meyer & movement
Date: Thu, 02 Dec 2010 17:00:48 -0500

I guess we have to distinguish between movement and
MOOOOOOOOOVEMENT. Of course we all move when we play, emphasizing
the emotional impact that the music is having on us. That is normal-
we are not made of stone nor are we digital, reproducing exactly and
without emotion the notes we find on paper. BUT, Ms. Meyer's (and
others I have seen) movements are EXTREMELY exaggerated, bizarre and
to me at least poor stage presence. THAT is what the problem is. Is
she trying to say, my playing is greater than yours, so my MOVEMENTS
shall be too? Is it an attempt to imply that a great artist feels
something that we doodlers don't? Bah-low-nee. I wonder if she
moved so much when she first hit the public eye- when we didn't know
her and were sizing up her ability to play, and not her ability to
wiggle. What is the next step up in performance practice- playing
while suspended upside down by an ankle from a rope while spinning a
hoop with the other ankle? Did Mozart write for that position?

Why don't we ask her directly? How would we do that?

Fred

OK, I have calmed down- it just really looks bad to me and I believe
it is totally unnecessary. It adds NOTHING on all levels. Not
movement- EXCESSIVE and bizarre movement.

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