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Klarinet Archive - Posting 000029.txt from 2010/12

From: "Tom Servinsky" <tompiano@-----.net>
Subj: Re: [kl] Sabine Meyer & movement
Date: Fri, 03 Dec 2010 04:36:27 -0500

fair enough...include me in on the bad dancer crowd.
Tom Servinsky
----- Original Message -----
From: "Fred" <vze2bsbs@-----.net>
To: "The Klarinet Mailing List" <klarinet@-----.com>
Sent: Thursday, December 02, 2010 10:34 PM
Subject: Re: [kl] Sabine Meyer & movement

>I agree with you- she is a superior clarinet player. I never said
> she wasn't. I said she is a lousy dancer.
>
> Fred
>
>
>><snip>
>> But painting a very vibrant artist such as Sabine Meyer (who pours her
>> all
>>into her music) as a carnival-hack,isn't one of them.
>>This is a very talented lady with much to say. As a teacher of advanced
>>students, I for one, am happy to introduce this great artist to my
>>students.
>>The younger crowd connects well with how she conveys her emotions into her
>>music.
>>
>>Tom Servinsky
>>----- Original Message -----
>>From: "Fred" <vze2bsbs@-----.net>
>>To: "The Klarinet Mailing List" <klarinet@-----.com>
>>Sent: Thursday, December 02, 2010 5:00 PM
>>Subject: Re: [kl] Sabine Meyer & movement
>>
>>
>> >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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>>
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>
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