(The REAL) Sunday Morning Music
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Thomas Tallis: Miserere Nostri Continuum; Harry Guthrie, Conductor Have
mercy on us Lord, have mercy on us. (As far as I’m concerned this is so
necessary, ...
3 days ago
5 comments:
It's amazing how much easier a line can flow when you don't have to worry about stopping to breath. I heard Charles Neidich play the Brahms quintet circular breathing the whole time. He still phrased, but was able to match the long lines of the music better, much like the strings players were doing, without the hassle of everyone having to mark in a "breath" for the clarinet part to suck air.
I agree. I think that not having to worry about stopping to breathe can make a big difference, adding to the musical impact. Now the problem is figuring out how to do it effectively!
Betsy
Arthur Weisberg said you had to circular breathe in order to play any of the JS Bach transcriptions properly. I don't think you can play the Berio Sequenza without circular breathing, either.
Bryan, Mr. Weisberg's statement certainly makes sense. And circular breathing is required for certain contemporary compositions like the Berio. I don't think there's any way around it - bassoonists are going to have to get used to circular breathing!
Betsy
As if it's not hard enough to maintain embrochure on a double reed so intonation doesn't suffer... and then add standing while performing... the perfect storm?
We brought back a recording of an amazing didgeridoo player from Australia in 1997. They do some amazing things!
I tried a 7 foot long didgeridoo while we were there, but it was a dismal failure (but pretty funny at the same time). Contra is much easier!
Hugs from NJ :)
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