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Pedro Carneiro
Joined:
2005-3-6
From:
Posts:
10
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Bill,
"You make a valid point that one must always listen critically to the sound produced in the moment and adjust technique and/or intrepretation accordingly. However, the issue at hand here is regarding clarification of the composer's specific intentions."
Re: Absolutely. But I still think that composers intentions (and this depends hugely on composer, aesthetics of his/her music, etc) can change according to what I mentioned in my previous message. I meant this as a general remark and not really specific to Merlin itself (which I have never played publicly). From touring a concerto with the composer present, last year, he was aware of different details in different halls, which brings some interesting points regarding tone projection and articulation when playing a marimba concerto with 75 people behind you.
I know the issue here was, as you said "clarification of the composer's specific intentions." I think that percussionists have the general tendency (and this is a huge generalisation, when I say PERCUSSIONISTS, I mean of course, only some) for getting too technical in some mechanics of performing and ignoring some aspects which are crucial in other instruments. For example, note lenght and timbre, in works such as (springing to my mind), Sueyoshi's MIRAGE. I remember playing to my father years ago (a chamber music professor in Lisbon, who is now a ritired pricipal trumpeter from the Radio orchestra) and him saying "Why the hell don't you damp that staccato 32nd note, like timpanists do! It sounds long and it isn't". Stick damping is now something I incorporate in many degrees, in order to do more accurate note lenghts, hence, trying to be closer to the score. Marimba pedals... maybe a good idea...
All best to you, and to all,
Pedro
http://www.pedrocarneiro.com
Remote Host: adsl045162.lsb.net.kpnqwest.pt
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