Doublereed Archive - Posting 000083.txt from 2006/08

From: Arri Bachrach <abachrach@-----.net>
Subj: Re: [DR-L] Mozart Oboe Quartet
Date: Thu, 10 Aug 2006 13:32:44 -0400

the destruction in Lebanon is "senseless" and no doubt the destruction
caused by rockets in Israel is sensible.

AB

>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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>> >
>> >
>> >
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>> >
>>
>>
>>
>>
>>
>>Sent via the WebMail system at mail.welgoss.com
>>
>>
>>
>>
>>
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