Aaron Rabushka asked:

>>By the way, how do any percussion players on the list feel about these
>>snare-drum ostinati? Do you look forward to playing them?

To which Ian Crisp responded:

>As a mere amateur in the field of orchestral percussion, my answer is a
>very clear "No".  To do these well requires the moronic single-mindedness
>of a drum machine combined with the ability to make these patterns
>"breathe" and function organically with the rest of the music.  They're not
>remotely difficult technically, except in the sense that the snare drum is
>always extremely unforgiving of even the tiniest flaw in execution, but to
>get behind the written part and play the music instead of just delivering
>the notes is a big challenge.

I am not a percussionist.

I don't understand.  This task sounds like it takes a supreme effort and
the application of consummate skill, yet it's called moronic.  Sounds like
it rather demands the height of professional talent and discipline.

The other day I attended a performance of Mahler 1.  The tympanist was
the focus of attention at the start of III, the Brueder Martin movement.
She kept the tramping Hunter's Funeral rhythm just perfectly, with no
deviation in tone or pace.  It was a great evocation of implacability and
atmospherics, delivered unostentatiously.  The music itself, combined with
the percussionist's obvious concentration, made it very clear to me that
there was nothing moronic or robotic about a single rhythm delivered for a
long time.  I realize that we're talking about two different actions here.

Mitch Friedfeld