Posted by Mac Fish on April 23, 2003 at 12:49:58:
Mr. Sheridan,
Your response to these questions will shed a little more light on why it is ok to break away from the bonds of written music; and as you have so beautiful stated in the cadenza freedom post- sometimes MORE musicaly correct than what is written in the given edition. If you haven't allready, read the Cadenza Freedom post most specificly Pat Sheridans post!
How do you feel about the way Mr. Barnes notates his cadenzas in contrast or comparison with the way others notate their cadenzas?
Could you discuss your dialogue with James Barnes regarding the Commodo (un poco meno mosso- measure 173) section in the third movement of the Barnes concerto? Why did you choose not to slow down? Did Mr. Barnes tell you to do that, was it a choice you made, or a mutual agreement? Was this a musical choice or a mistake? I have had arguments with people about this- It would be nice to hear what you have to say.
Could you speak on the way in which you played the fast sections of the third movement? Was your goal to get all the right pitchs; or were you more focused on the musical phrase or line, and less on the pitchs?
I have heard that you sing through your horn sometimes to get the extremely high pitchs. Is this a technique you use or just a myth?
Why did you choose to take the second movement much slower than q=72 the suggested tempo? Why is the tempo suggested at 72?
What horn did you play the barnes on?
Thank you sincerely, (I've been a huge fan of yours since before I started playing the tuba)
Mac Fish