Author: Tony Pay ★2017
Date: 2010-10-31 19:12
Simon wrote:
>> I realize "Don't kid yourself'" was probably referring to the last bit about opinions carrying more weight. >>
Yes, that, really.
I wondered whether to add a smiley at the time, but thought that I had a serious public point to make, and so preferred to rely on your good nature:-)
This thread also gives me an opportunity to clear up something about this subject that I feel I never really nailed.
I went on record as saying, "Whether or not to play on the instrument the composer wrote for is a MORAL question," and I think that I may have been interpreted as saying quite the opposite of what I intended by that statement.
For me, if you take the view that deciding between two or more courses has an 'easy' answer -- if it's clear, according to you, what the 'right' thing to do is -- then it's not a moral question. If on the other hand making the decision involves judgement, and one is pulled in different directions by competing arguments, then it IS a moral question. That means that morality is not to be captured by rule-following, even though rule-following -- particularly when it's difficult to follow the rules -- may be a useful interim exercise in developing a moral sense.
Saying that something is a moral question also, to my mind, carries the implication that it's a question that we do well to take seriously. Here's an example from the period instrument world: some owners and collectors of original instruments -- especially wind instruments -- take the view that those instruments should never be played. If you want to recreate the sound world of the past, they say, MAKE COPIES. It is wrong to risk damaging valuable historical specimens for the sake of performances that are merely 'ephemeral'.
One of the reasons that we loved Nick Shackleton was that he understood that all music -- ALL our work -- is ephemeral; and he therefore took a different attitude, and was willing to balance his love for his wonderful collection of clarinets against his sense that they should fulfil their original function.
He decided to deal with requests to borrow instruments on a case-by-case basis -- which amounts, I would say, to treating such requests as 'moral questions'. And, you could see that he didn't do it lightly.
So, in Nick's spirit, I -- and you, I suggest:-) -- don't just play something on the 'wrong' clarinet, modern or period, without a moment's thought. We consider the matter, weigh both the evidence AND the consequences, and make up our minds -- sometimes one way, sometimes the other. That's all.
As to the big orchestra/period band question: I find that there are some stupid, dogmatic period players, and some wonderful, thoughtful big orchestral players.
AND THE OTHER WAY AROUND.
Tony
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