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Doublereed Archive - Posting 000082.txt from 2006/08
From: David Lurie <klingsor@-----.com>
Subj: Re: [DR-L] Mozart Oboe Quartet
Date: Thu, 10 Aug 2006 10:45:42 -0400
Hi Steve
I do like the political imagination expressed here. While anything
would be better than the senseless destruction that is currently
going on in Lebanon, why don't you give all of these ideas to Condi
Rice for her to apply?
David
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
> >>
> >>
> >>
> >>
> >>
> >> ---------------------------------------------------------------------
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> >> 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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