Mitch Friedfeld is puzzled by my comments on snare drum ostinati:

>> . . . 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.
>
>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.

Note my words "combined with" - I didn't describe the whole task as
moronic, I said that one component of it requires the ability that drum
machines have in (over)abundance - to repeat a pattern over and over
without variation and to pace a steady crescendo over a very long span of
music.  That's a bit like concentrating on not thinking of elephants for
twenty minutes - the mind begins to play tricks on itself and look for
ways of breaking or changing the rules.  If mindlessness were all that was
needed, then a drum machine would do the job as well or better than a human
player.  I don't believe it would be possible to make a great or even a
good recording of Bolero with a drum machine looking after the snare drum
parts, because it calls not only for "a supreme effort and the application
of consummate skill", but also for the human capacity to understand the
function of one part within the whole, and to express that understanding
through all kinds of minute subtleties of performance.  The "height of
professional talent and discipline", and artistry as well.  Perhaps much
more capable players than I ever was do look forward to such challenges:
I know that I didn't.  But I was always a better critic of others'
performances than I was as a player myself!

>(Mahler 1, 3rd mvt) 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.

Indeed not.  Although it occurs to me (and I hope I don't open up the
question of interpretation of the "Leningrad" again) that Shostakovich 7
is one place where a drum machine might just be even better than a human
snare drummer, precisely because of its moronic mindlessness.  There's a
suggestion for any conductor who might like to try it!

Ian Crisp
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