[TPIN] Re: TPIN Maurice at his finest

[Michael Anderson]

John,

Thank you for addressing this issue. I've been wondering these things for
some time. Long ago Tony Plog came to Lincoln to solo with the symphony and
give master classes... It was the early 80's. At this time I was introduced
to the "tiri-tiri-tiri" method of baroque articulation. Since then I've been
paying attention to the ways great baroque soloists articulate and ornament
in an attempt to be better informed in my own performances and to help my
students play baroque music more authentically.

What I've discovered is that there is no *definitive* Baroque performance
practice. There are schools of thought and clearly some things you don't do,
but most of it is up for grabs... So, my decision is to make as much music
as possible and not worry too much about following a specific template of
performance practice. I think this is what Andre did and it worked well for
him. ;-)

If my main goal was to recreate an authentic performance, then I'd be
playing a baroque trumpet (no holes) and would be more driven to interpret
the music based on research.

I wonder what Ed Tarr thinks of Andre's Baroque recordings? Has he ever
written about it?

MA

> From: John Cather <John at Cathermusic.com>
> Date: Sat, 05 Jan 2008 21:58:00 -0800
> To: <tpin at tpin.okcu.edu>
> Subject: [TPIN] Re: TPIN Maurice at his finest
> 
> Maurice Andre did not play historically accurate for the most part. He
> did many things that are modern-like the vibrato which was not
> commonly used in early music. The slur two tongue two 16th notes are
> also post baroque period as a general rule. Don't pay attention too
> much to the editing of so many on all the early trumpet music. Most of
> it was done when research of early music was scarce.
> 
> With that said, He Andre has played some of the most beautifully
> interpreted music on trumpet I've ever heard.
> 
> Nobody said you have to play early music historically accurate. If
> you're going to play on Piccolo trumpet anyway (instead of a
> historical trumpet), you might as well play it the best way you feel
> it. It's nice to get away from the little dots on paper and make music
> of it. That's coming from a guy who's pretty stuck up when it comes to
> historic practice.
> 
> Cheers,
> John Cather
> 
> 
> On Jan 5, 2008, at 5:59 AM, Achias1 at mchsi.com wrote:
>> 
>> Such beautiful tone and technique.
>> 
>> I have to ask my most learned listmates about using vibrato on
>> Baroque pieces.
>> Although Maurice sounds wonderful doing it, I've always thought that
>> vibrato was
>> a no-no on fast movements of Baroque selections.
>> 
>> Does anyone have any guidelines on this?
>> 
>> Dave
> 
> 
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