Klarinet Archive - Posting 000152.txt from 1994/06

From: Martin Pergler <mpergler@-----.CA>
Subj: Adagio KV 484a
Date: Wed, 29 Jun 1994 17:41:00 -0400

Noreen's query on the GP leads me to throw forth for discussion another
clarinet & basset horn piece -- Mozart's Adagio KV 484a (old K 411, I
think..)

I have seen two editions of this work (I'm very much an amateur clarinettist
N.B.) -- I have a Musica Rara edition, and I've played through another
edition; visualizing the parts in my head, I think by the typesetting it
must have been Rubank. This second one seemed to have rather questionable
editorial phrasing (to my inexperienced eye). The Musica Rara seems to
me to be more playable "out of the box", though it can use a bit of fiddling
The markings are far too conscientiously consistent to be original, but
I haven't compared with the Neue Mozart Ausgabe or the like.

The work is scored for 2 Bb clarinets and 3 basset horns. The top two
basset horns often work together with the third separate, providing bass
line and almost always in the lower register. The main exception seems
to be around bar 14 and its reprise, with the intermeshing
rest-note-note-note 16th patterns in all voices.

However, the top 2 basset horn parts are in Bb range and the third in bass
clarinet range, and so it can be played on 4 Bb + bass. My Musica Rara
edition also has a bassoon part for the third horn, but I imagine this
would stick out like a sore reed.

I have played (for fun rather than performance...) with the 4 Bb / Bass
instrumentation twice. It's certainly fun and exciting, but I do think
the lack of tonal contrast between the top and middle voices makes it lose
something. We tried once to consciously play the 3rd and 4th Bb part with
a darker tone to add contrast, but frankly I think those of us playing
lacked the technical ability to make a consistent and appreciable
distinction.

I don't have a specific query ... I just thought the time is right
to throw this out for discussion. Two other points come to mind....
I remember having trouble to "unmuddy" the ensemble sound around
bar 14 (same place as above)...or should it be a bit muddy? Also, a
judgement call -- towards the end, there are these soaring "sighs" in the
1st clarinet opposite an inexorable advance in the rest of the ensemble.
To what extent is this like an accompanied solo vis-a-vis an adjunct
ornamental part (both extreme points of view, I know...)

BTW has anyone tried it with 2 Bb / 2 alto / Bass -- seems it should be
in range.

Martin Pergler
Graduate student, math, University of Chicago
Writing from Carleton University, Ottawa, Canada

   
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