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Author: brycon
Date: 2024-06-27 11:57
Quote:
Practice of others' compositions is always a process of determining what expression is indicated and working toward that. Indications are never exact, so departures from or modifications of them are always going to happen to some degree.
And that may be what Russianoff was aiming for with the student in that video. The voice leading, harmony, rhythm, figuration, texture, voicing, etc. of any given phrase usually lead us toward some way of playing it: the music itself wants to be rubato or cantabile or any number of things. Being able to figure these things out for yourself and then draw them out with your clarinet playing is part of being a musician. And once you can do it, you begin cultivating a deeper relationship with the music than someone who simply executes markings without much thought (e.g. this music has a piano marking, so I'll play softly; this note has an accent, so I'll hit it; and so on). It's like a good Shakespearean actor who studies what Hamlet's saying--the philosophy and psychology of it all--compared with someone who recites Hamlet's words in an English class but has no idea what they even mean.
Think of the old Rose etude edition (published by Carl Fischer, I believe), which has very few expressive markings in it. These etudes can make good phrasing studies because students have to make decisions based on the music. The modern David Hite edition, by contrast, is horrible: nearly every note has some expressive marking. It turns students into reciters.
Once you have this musical know-how, you can really engage with whatever expressive markings a composer does put into his or her music. Richard Taruskin, in his essay on conducting Beethoven, for instance, talks about how Nikolaus Harnoncourt is able to justify musically some unusual sforzandi in the symphonies. With great composers (with the clarinet, I'm thinking of that opening poco forte in Brahms), there's always something interesting to work through this way.
Post Edited (2024-07-02 12:21)
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Le9669 |
2011-09-02 04:30 |
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brycon |
2011-09-02 16:48 |
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Ed Palanker |
2011-09-02 18:49 |
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hartt |
2011-09-03 02:50 |
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Bob Bernardo |
2011-09-03 12:40 |
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Ed Palanker |
2011-09-03 16:14 |
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DavidBlumberg |
2011-09-03 20:53 |
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nellsonic |
2021-05-24 22:46 |
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Bob Bernardo |
2011-09-04 07:50 |
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Dileep Gangolli |
2011-09-04 17:49 |
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GBK |
2011-09-04 18:03 |
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MarlboroughMan |
2011-09-04 19:12 |
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David Niethamer |
2011-09-05 02:16 |
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Tom H |
2021-05-18 08:25 |
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MarkS |
2021-05-18 20:39 |
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rmk54 |
2021-05-18 21:55 |
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2E |
2021-05-24 08:24 |
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Tom Piercy |
2021-05-24 17:37 |
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ruben |
2021-05-24 21:57 |
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Ed |
2021-05-25 01:16 |
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nellsonic |
2021-05-25 02:16 |
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Ed |
2021-05-25 05:12 |
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DavidBlumberg |
2021-05-28 21:51 |
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joe englert |
2024-06-26 08:22 |
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SecondTry |
2024-06-26 19:02 |
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kdk |
2024-06-26 19:37 |
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SecondTry |
2024-06-27 01:49 |
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kdk |
2024-06-27 02:59 |
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brycon |
2024-06-27 08:03 |
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Philip Caron |
2024-06-27 09:44 |
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Re: Russianoff's students new |
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brycon |
2024-06-27 11:57 |
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SecondTry |
2024-06-27 19:52 |
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Ed Palanker |
2024-06-27 23:33 |
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brycon |
2024-06-28 00:21 |
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SecondTry |
2024-06-28 21:50 |
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brycon |
2024-06-29 02:44 |
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SecondTry |
2024-06-29 21:58 |
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lmliberson |
2024-06-29 22:36 |
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Mark Charette |
2024-06-29 23:42 |
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brycon |
2024-06-30 06:58 |
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SecondTry |
2024-06-30 17:03 |
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lmliberson |
2024-06-30 17:41 |
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SecondTry |
2024-06-30 19:02 |
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donald |
2024-07-01 09:20 |
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lmliberson |
2024-07-01 14:42 |
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donald |
2024-07-01 16:19 |
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SecondTry |
2024-07-01 18:27 |
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SecondTry |
2024-07-01 18:45 |
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lmliberson |
2024-07-01 19:39 |
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brycon |
2024-07-01 19:53 |
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lmliberson |
2024-07-01 20:01 |
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SecondTry |
2024-07-01 20:18 |
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brycon |
2024-07-01 21:30 |
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SecondTry |
2024-07-01 22:55 |
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lmliberson |
2024-07-01 21:45 |
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Philip Caron |
2024-07-01 23:14 |
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brycon |
2024-07-01 23:32 |
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lmliberson |
2024-07-01 23:43 |
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SecondTry |
2024-07-01 23:56 |
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lmliberson |
2024-07-02 16:49 |
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SecondTry |
2024-07-02 18:11 |
The Clarinet BBoard
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