Author: Tony Pay ★2017
Date: 2014-07-21 19:10
John Peacock wrote:Quote:
A single note from a baroque oboe can send a shiver down my spine, as indeed can one note from a few special clarinettists. Yes, for me too. But I then very quickly move on to listen to what the player has to say – or rather, to how what they do contributes to the music, which is what I'm mostly concerned with listening to. (I don't want to be trapped into listening to BERNARD WALTON, do I?-)
If I hear a beautiful voice on the radio, say, then a similar thing occurs, whether it's in play or poetry.Quote:
But I could see two arguments [to justify playing these instruments]: (1) understanding the sound world of the first players, which the composer would have had in mind when writing; As I've pointed out here before, the sound of the instrument isn't determined by the instrument. See for example the discussion in:
http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=302940&t=302700&v=t
...after turning on 'threaded view'.Quote:
It's quite common these days to find modern-instrument orchestras trying to play in a historically informed style, so can a modern clarinet be played successfully in a way that takes on board the musical lessons of knowing what a period instrument is like, without actually needing to perform on one? Harnoncourt has maintained that it can, and has stopped working with period instruments as far as I know. That's not to say that I entirely agree with him, or indeed like his performances, very often.
Tony
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The Clarinet BBoard
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