Author: Liquorice
Date: 2004-04-14 20:24
"Similarly I've met with a few composers (most notably John Corigliano and Ron Nelson, plus many less well known people during my college playing experiences). I've never met a single one that was as adamant one would imagine from these posts."
Every composer of classical music that I've worked with, including Pierre Boulez, Michel Jarrell and Heinz Holliger, has been adamant that one plays exactly what was written in the score. I remember Pierre Boulez getting highly irritated with the viola section because they weren't playing his written dynamics!
"I find that the performer is AS much a part of the end result, if not more so, than the black dots I put on a page."
I will agree with you there. But some performers strive to discover the composers' intentions (starting with the details of the written score) and give performances that are fantastic, deep, moving, etc. etc.
I heard Stolzman play the Copland in Switzerland. A lot of what he played had very little to do with what Copland wrote. Despite this, his performance was convincing, and the audience called him back to play 3 encores!
So where does that leave us? Stolzman, because of his ability to project the music into the audience, could pull something like that off. But why did he feel he had to actually change notes, rhythms, tempi, dynamics etc., to be able to do that? Why couldn't he do that and still stick to the text? Some performers can.
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The Clarinet BBoard
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