Author: seabreeze
Date: 2017-12-30 20:23
One of the best, most useful presentations I've seen in years. This is all about the social dynamics and musical politics of working in a orchestra, the give and take that makes effective performances possible. Few activities are more dependent on adaptation, compromise, and a willingness to accept the unexpected than successful orchestral playing. Mr. Zimmerman has captured the nuances of respect for and accomodation of others that ensemble players must make perfectly in this video.
Orchestral clarinetists learn that by listening to the preconceived ideas and perceived difficulties of the string players, the brass, and the conductor and comparing these with their own preconceptions, everyone must compromise and be willing to change for the combined performance to gel. Everyone gives up some individual preference to acheive a synergy. The conductor gives up the idea of absolutely fixed and stable tempo; the clarinetist settles into the unacustomed articulation and learns to accept a slower tempo, the strings nudge the tempo forward to bow more naturally, and the horns suprise themselves by playing the passages faster than they thought possible or desirable. Each section must listen to the other sections and offer a creative response.
The result is not the acheivement of some Platonic idea. The music is not drawn by a computerized automated draftsman in perfect geometric shapes of unchanging symmetry. It is a living adaptive organism, filled with unexpected asymmetries (such as frequent small but meaningful tempo changes). To play well is not to "stand your ground" and refuse to compromise but rather to learn to see the ever changing musical landscape though the eyes of your compeers, to walk in their shoes, sit in their chair, and feel through the piece as if you were playing their instrument.
My take home on this is that we should all practice our "parts" not to acheive some imagined solo perfection but on an ad hoc basis ever subject to further alteration and change. Flexibility, not rigidity is the key. We should ask not "what is the ideal way to play this" but rather "how would I play this if the combined performance requires changes in articulation, tempo, dynamics, pitch and tonal shading." In music as in life, to adapt is to survive and thrive--to refuse adaptation is extinction. This relates to all ensemble playing, duos, recitals with piano, any combination of clarinet and other instruments.
I hope Mr. Zimmerman continues this valuable series.
Post Edited (2018-01-02 00:28)
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The Clarinet BBoard
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