Re: [Harp-L] Villa-Lobos at Teatro Amazonas

[Joe and Cass Leone <leone@xxxxxxxx>]

On Oct 1, 2009, at 8:58 PM, Robert Bonfiglio wrote:

> On Oct 1, 2009, at 8:14 PM, Joe and Cass Leone wrote:
>
> > So, the idiom takes pride in having players perform with no  
> > amplification. Does this mean that even though we are a couple  
> > hundred years FROM the classical era, (an era that had no  
> > amplification), that amplification is taboo? Sounds rather Amish  
> > to me. lolol. Why is it necessary to be UNproud when using  
> > amplification? So, the harmonica can't compete unless it is played  
> > unamplified? So, the amplified harmonica is UNworthy? I don't  
> > understand this klepto which dictates that the only way to play  
> > classical music is unamplified. Did Adler play unamplified? What  
> > am I missing?
>
> Smo-joe - You're missing the point.  Classical musicians prefer the  
> acoustic sound, they are not paranoid about amplification, they  
> just prefer the unamplified sound. Kind of like some blues harp  
> players prefer an old amp, bullet mic sound and others like an  
> acoustic SBW sound.

     Ok, this is an excellent explanation. Look, let's be serious  
here for a minute. You teach, I don't teach. You've arrived, I'm  
still in transit. You have CDs, the only CDs I have seen were on my  
report cards. You're a star, I'm a rats (star backwards). You know  
far more about this stuff than I sdo.
> Classical soloists therefore spend all their time developing huge,  
> powerful sounds to carry to the back of the hall.

     You certainly DO have that.

>  Kind of like only using wood bats in the Majors but learning how  
> to hit the ball 600 feet with them.
>
> The classical music era is not a couple of years old.  The Villa- 
> Lobos Harmonica Concerto was written in 1955 for John Sebastian.   
> Richard Einhorn's The Spires, The Cities, The Field in memory of  
> the victims of 9/11 was written in 2002 for harmonica, mezzo  
> soprano and Orchestra and I premiered it in 2002 on 9/11 with the  
> Albany Symphony, David Alan Miller conducting, and the harmonica  
> was acoustic against the Mezzo.  Classical music is very much alive.

     I never questioned that, but I was trying to get a handle on  
why it would be necessary to play unamplified. I don't recall that I  
ever heard anything amplified and UNamplified where the amplified  
method took away from the sound. You answered that with the words  
"spend all their time developing huge powerful sounds".
> Adler played with amplification

     Yes, even when it didn't seem so, there WAS a mic hanging  
around somewhere. I'm suspect none of his studio work was done  
unamplified? I could be wrong. But then, I don't believe his sound  
was all that powerful.

> the point is if one develops a technique that one can play  
> acoustically, why not use it in appropriate situations. We tried  
> both ways in rehearsal and a major conductor was at the rehearsals  
> at Teatro Amazonas and he said he preferred the unamplified sound.

     Ok, that works for me. I'm glad you cleared that up for me. My  
query was because, except for you, I don't hear anyone else pushing  
for the unamplified sound. In fact, I don't ever remember it coming  
up in my 67 years. I don't know as anyone talks about it.

>  He also said everything was clear and heard over the 60 piece  
> Orchestra at the concert and that he wants to work with me.

     Hah...who wouldn't? Lemme tell you, the first couple times I  
watched you, I didn't know what to make of you. But after a while, I  
realized that you are fun to be around. You exude personality. I  
enjoyed the electricity at St. Louis.

> It's a business.    I played acoustically and the audience loved  
> it.   I do not mind using amplification at all and I do it 75 % of  
> the time.

     Oh, and btw, I wasn't trying to be a wise guy. I spent several  
hours in the garden thinking about it before I wrote.
smo-joe (un ragazzo di Sigilia)
> harmonically yours,
>
> Robert Bonfiglio
> http://www.robertbonfiglio.com