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Doublereed Archive - Posting 000069.txt from 2006/08
From: "Steve Welgoss" <bassoon@-----.com>
Subj: Re: [DR-L] Mozart Oboe Quartet
Date: Wed, 09 Aug 2006 11:46:12 -0400
Re Mozart Bassoon Concerto Cadenzas. I prefer the Garfield cadenzas (and his recording) to anything else I have ever heard. Herb, btw, I spoke with Ron Phillips on the phone last night and he sends you his regards.
Steve Welgoss
Long Island, NY
bassoon@-----.com
www.welgoss.com
917-572-6667
---------- Original Message ----------------------------------
From: herb fawcett <herbgosia@-----.net>
Reply-To: doublereed@-----.org
Date: Wed, 09 Aug 2006 08:28:27 -0700
>Harold,
>I am not a musicologist by any means, and I do agree with your idea of
>personalization of cadenzas. For Mozart's bassoon concerto we have the Ibert
>set of cadenzas, which I believe to be quite pretty. Oubradous used them on
>his recording, and I have not heard them since. A pity. Unless the composer
>wrote the intended cadenza, I think we should be free to play any style, as
>long as it relates to the concerto itself. Eg using material from the
>movements.
>Good luck. I will be interested in the responses.
>Best,
>Herb
>
>
>On 8/9/06 2:17 AM, "harold emert" <harold@-----.br> wrote:
>
>> Dear List (which is Not going out of business):
>> This habit/vice(?) developed over the years of writing about what I am
>> studying and asking others for suggestions is difficult to kick.
>> I find myself studying for performance this week the Mozart oboe
>> Quartet --the fourth time I do it over the years.But Mozart being
>> Mozart,there are always queries in addition to the preparation of miniscule
>> details.
>> Studying the arrangement for oboe and piano called "Concertino"by Southern
>> Music,I am, convinced that the grace notes or measures 30 and 43 are g
>> naturals and not g#,as indicated in the part because of the string
>> parts.Why?Because the g natural fits in better with the harmonies.
>> I also tend to agree with Alex Klein who observed in Muncie at his
>> master class that Mozart composed this hectic movement for the
>> "mad"character of oboist Ramm--therefore explaining the "crazy"jumps for
>> this epoch.
>> The second movement's Cadenza is another query on my mind. I once performed
>> as an orchestral member with a group of Brazilian chorinho(sort of but not
>> local blues) musicians performing Mozart and their cadenzas included
>> excerpts from Chorinhos.Why not personalize the Cadenza? (Once heard a
>> twelve tone Cadenza for the Mozart flute concerto!)
>> The two recordings I have are by Holliger and Goosens,but would appreciate
>> hearing about whatever recordings you might prefer and why.
>>
>> Best wishes as I await not only answers(?) but new topics on this List which
>> remains ,
>>
>> Harold Emert
>> Rio-Brazil
>>
>>
>>
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>
>
>
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