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Re: Neidich's Copland vs. Goodman's Copland?

Author: SueSmith
Date: 2005-06-25 17:44

Tony,

Again, I appreciate your comments on Berio. In fact, those in direct reference to the character and style of Berio are extremely helpful. To condense your statements, it seems you have characterized Berio as a composer who intends what he writes to be performed as is. It's also interesting that in his life, it appears he could never admit he was wrong. I am curious about this "computer program" aspect to the Sequenza IXa - and what it was intended to contribute. Was it to condense the aural material into synthesized sound or visual art on a monitor?

As for Stravinsky, I've personally found historical research equally helpful...and I should have expanded upon that in my post. We can all agree that Stravinsky was a composer who drew many of his themes from Folk Music - and not too long ago there was an interesting thread on this board about the origins of the theme of the First Piece. Rightly or wrongly, a former instructor of mine classified the First Piece as a dialogue between a man and woman based on African tribal themes. Whether you agree with this assessment or not, this idea certainly caused me to reexamine the First Piece and do more research.

Studying music is not just about studying the notes on the page, but keeping your eyes and ears open to new experiences and ideas, regardless of your professional status. Although, the analysis of what is on the page is extrememly important - its not the only thing. And if listening to a recording does nothing except show you why a piece shouldn't be played at a certain tempo, or style - at least you have gained new insight. Although you have not found value in several recordings of the Sequenza, does not mean there is not something to be learned from them. In music and there are no absolutes.

A few years ago, there was a young girl who posted on the BBoard. She was just a "no name" student, whose original teacher (whom I also studied with) told her to seriously consider NOT going the performance route in college. The teacher felt that this student did not have the raw ability to make it professionally. However, this girl proved many people wrong and is now 2nd chair in a major NYC group. So, on this mostly anonymous BBoard, you never know whom you are addressing...a "no name" today can be the next Principle chair of a major orchestra tomorrow...or perhaps the next Managing Director of the symphony in which you are performing.

Although this board is a great opportunity to hear the anecdotes and opinions of major players in the clarinet community...I don't take every word said by these professionals as an absolute doctrine (especially when their points of view usually conflict). As well, I wont dismiss an insightful comment by a HS/college student or "no name" adult just for the fact that they have no public/professional reputation. In opposition I've heard ridiculous statements on this board from both seasoned professionals and the mere mortals.

Almost everyone has something to offer if they choose to contribute and we choose to listen. A seemingly simple question posed by a HS student can spark a lively debate and address issues "more experienced" players rarely ponder. It's up to us, as an individual, to keep our ego in check and our head out of our A**.

Post Edited (2005-06-25 17:47)

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