Author: SueSmith
Date: 2005-06-24 23:55
Tony Pay wrote:
>
> The thing to do, Sue, is rather to look at the score, and try
> to make sense of it for yourself.
>
> You might find that trying to play it gave you some ideas, and
> that those ideas gave you another way to play it...
>
> Tony
To me, Berio Sequenza is still a mystery...and I confess I don't "get" his compositions on the whole. Yet, it seems that his music is more or less required once you delve into the modern literature and sometime soon I will have to embark on my Berio education. So far, Persichetti and Martino are as modern as I get - although in the past I had spent a horrific few days learning two pages of squeaks in Carter's "GRA" - blah.
I've recently decided to delve into Artie Shaw's Concerto as well as some Klezmer, in order to expand my previously narrow view of "classical" clarinet literature and technique. But, since I have not exposed myself to these styles in the past, I've been listening to many different recordings in order to understand the style and mood of these genre's.
Likewise, Berio is not my thing naturally...and in order to comprehend what this man was trying to say, I have to understand his style. I understand your comment - and it is appreciated, but I'm still going to be studying and listeing to a lot of Berio (not just the Sequenza) before I will even embark on the journey of Sequenza IXa. Hence, usage of the word "reference" in regards to John Moses recording.
Imagine, if the first composition of Stravinsky's you ever saw (without even aural exposure to his works) was Three Pieces. I'm sure someone of your caliber would be able to decipher the style quite adequately, yet by studying (through scores and aurally) the style of Stravinsky before hand - you would certainly have a greater understanding of the work and Stravinksy's style as a whole. Likewise, by studying the history and influences of lesser known composers, even though there may be fewer or no recordings available, you gain insight into the work. I've heard enough students in many a masterclass with no reference point for the work they are performing ... in fact one of these experiences was during a Berio Masterclass held by Tom Martin.
In my world, there is a difference between using a recording as "reference" material as opposed to "copying" a recorded performance. Too many students do fall into the latter catergory, imitating the sound and style of a certain peformer's recording. In fact, an entire thread can be created on the reasons behind the lack of creativity among student performers - but I wont expand upon my theory in this thread.
Anyway, this is where I'm coming from.
Post Edited (2005-06-24 23:58)
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