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Doublereed Archive - Posting 000076.txt from 2006/08

From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] Mozart Oboe Quartet
Date: Wed, 09 Aug 2006 15:20:09 -0400

Right on brother! With the Jewish talent for discovery and invention, who
knows if we would gain a great new reed design based on quantum or string or
nano tube theory.
Herb

On 8/9/06 12:06 PM, "Steve Welgoss" <bassoon@-----.com> wrote:

> I was actually only talking about the Bassoon concerto. However, you raise
> some other interesting thoughts. I was wondering this week if we dropped
> thousands of bassoons and reedmaking kits on Israel and the Hezboullah
> wouldn't they be too busy making reeds and learning the Mozart Concerto to
> bomb each other? Also, bassoonists are of such good nature that becoming
> bassoonists might transform both sides into loving neighbors. If we dropped
> oboes, I am sure it would only escalate the conflict (teeeheeee)
>
>
> Steve
>
> ---------- Original Message ----------------------------------
> From: herb fawcett <herbgosia@-----.net>
> Reply-To: doublereed@-----.org
> Date: Wed, 09 Aug 2006 09:16:57 -0700
>
>> Thanks, it has been a long time since I saw Ron.
>> I too like Garfield's cadenzas, Turkovic's recorded cadenza, Guetter's and,
>> Karol Bydlo's cadenzas, and I also like Ibert's little gizmo. I don't
>> necessarily prefer the Ibert, but I don't agree with the uptight assertion
>> that it is "inappropriate". Inappropriate for what reason? Pedantry (a
>> virulent disease of educators, since it eliminates the need for actual
>> thinking) has never been my favorite retreat; I even allow for a little
>> vibrato in French horn playing, and I love a little of it in clarinet
>> playing. He's not my favorite (prefer Harold Wright) but I think Stolzman
>> has a lot to offer in his rather romantic interpretation of Mozart.
>> Does anyone see the hypocrisy in the "progressive liberal" attacking
>> conservatism, yet maintaining "hidebound" insistence on his own canon? (Thou
>> shalt allow the government, or rigid convention to rule your life...thou
>> shalt not cut a single tree, nor bore a hole in search of oil. Thou shalt
>> not vary from the style of the period when you play your "moment" in a
>> concerto performance.) Yuk! I prefer the freedom of total (very idealistic,
>> I know) self-determinism, while seeking civil agreement through law.
>> Sorry for the rant,
>> Herb
>>
>>
>> On 8/9/06 8:44 AM, "Steve Welgoss" <bassoon@-----.com> wrote:
>>
>>> 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
>>>>>
>>>>>
>>>>>
>>>>> ---------------------------------------------------------------------
>>>>> For personal help: email doublereed-owner@-----.org
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>>>>>
>>>>
>>>>
>>>>
>>>> ---------------------------------------------------------------------
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>>>>
>>>
>>>
>>>
>>>
>>>
>>> Sent via the WebMail system at mail.welgoss.com
>>>
>>>
>>>
>>>
>>>
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>>> For personal help: email doublereed-owner@-----.org
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>>
>>
>>
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>> For personal help: email doublereed-owner@-----.org
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>
>
>
>
>
> Sent via the WebMail system at mail.welgoss.com
>
>
>
>
>
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