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Doublereed Archive - Posting 000079.txt from 2006/08
From: David Lurie <klingsor@-----.com>
Subj: Re: [DR-L] Mozart Oboe Quartet
Date: Wed, 09 Aug 2006 21:37:15 -0400
Now THAT is a very good point, especially about the oboes
exacerbating the conflict!
David Lurie
At 03:06 PM 8/9/2006, you 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
> >>>>
> >>>>
> >>>>
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> >>>>
> >>>
> >>>
> >>>
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> >>>
> >>
> >>
> >>
> >>
> >>
> >> Sent via the WebMail system at mail.welgoss.com
> >>
> >>
> >>
> >>
> >>
> >> ---------------------------------------------------------------------
> >> For personal help: email doublereed-owner@-----.org
> >> Doublereed is a service of Woodwind.Org, Inc. http://www.woodwind.org
> >>
> >
> >
> >
> >---------------------------------------------------------------------
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> >
> >
>
>
>
>
>
>Sent via the WebMail system at mail.welgoss.com
>
>
>
>
>
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