How important is it that there’s a story behind the music? I personally think that the music of performers who have a certain image in their mind while playing, has a greater value than the music of those who just play the notes (even if they do play musical lines and dynamics).
Yesterday a class mate played to me the clarinet concerto by Carl Nielsen. At the beginning of the third part I had an image of a couple of ballerina’s, tripping across the stage, or two ballroom dancers, floating across the dance floor. However, in this version, the ballerina’s where like elephants. I explained my vision, she agreed, and from now on, those measures dance.
Try imagining it:
0.40 man and woman floating across the dance floor
0.48 man steps on woman’s toes, woman complains, man tries to calm her, woman complains even more
I can defenitely see it. Although I think Sabine Meyer’s version of the dancers, and even of the whole concerto, isn’t completely interesting. At some points it’s completely exagerated, in an attempt to tell a story (although it is not at all clear what story). And it sounds very difficult. I know, it is very difficult, but that’s a reason more to play relaxed and anti-technical, so the result is fluent and nice to listen to.
My favorite recording of this concerto is that of Martin Fröst. He clearly sees another story than me behind the notes, but he lets the listener enjoy ‘his’ story. Anyway, I think the most important thing is to make it completely clear to yourself what ‘your’ story is, so you can transfer it easily to your public.
Filed under: Cd's, Clarinet, Live @ the conservatory, YouTube
Thanks for sharing. These are so good.
You are SO like me, it’s scary. Just as well I’m old enough to be your Mother (probably). Look forward to reading more of these – just hilarious!
@marionharrington Thanks for your comment! I haven’t written much lately due to my exams at the conservatory, but you can be sure more of this will follow soon.
I’ve just had a thought about this post (why do I always experience creativity when starving hungry? Or is this some spiritual moment?). In the first movement of the Poulenc Sonata I always have this vision of a nagging mother having a go at her effeminate son (being that Mesr. P was gay). So – the hard phrases are the mother and the lyrical passages the misunderstood composer. Does that make sense? Or should I go and find some chocolate?
@Marion Harrington Good thinking, it does make sense. I’ll definitely remember it when I have to play the sonata. (And by the way, making another comment is a great way to remind me I should write more. I like having feedback on my thoughts.)