Hello Lawrence, 
your letter should clear these ominous clouds in the brains of some players
finally.

Just a very short comment: my colleagues in the opera often complained
about the much ooomtahtah e.g. in Verdis La Traviata. But if you listen to the 
wonderful singing & if you understand what´s going on on stage, nobody would
complain about the ooomtahtah again.

Do you amateur folks out think, some Minkus or Offenbach ballet would not be
boring ? If you play that with "accuratesse" and musically, these pieces will 
not
be boring. Even the oomtahtah can be played MUSICALLY.

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Am 22.05.2010 um 08:56 schrieb Lawrence Yates:

> A lot of what I'm reading here seems (I say "seems") to imply that one part
> has some kind of merit over another.  It seems an obviouis point that all
> the parts are important, they all contribute to the whole.  When you are
> playing a long note your are contributing to the performance - when you are
> counting bars rest, you are contributing to the performance - you should be
> listening because what you hear will have a bearing on what you play next.
> 
> I referred in an earlier post to an amateur orchestra I used to play for
> occasionally - there was no arguiing, no ill feeling, everyone played their
> part, even though all were capable of playing any of the parts. There was no
> auditioning or anything like that.  Just occasionally when one of the
> players felt that the part he had might be better played by someone else, he
> would pass the part over and switch for that piece.  (This only happened
> very rarely)
> 
> All were contributing to the performance and all were important.
> 
> Cheers,
> 
> Lawrence
> 
> -- 
> Lawrenceyates.co.uk
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