Klarinet Archive - Posting 000112.txt from 1994/09

From: 00smgeidel@-----.EDU
Subj: Re: Kegelstatt -- The Big Debate
Date: Thu, 15 Sep 1994 14:59:46 -0400

Reply to Kegelstatt "question"...

... paraphrase of a current post on the so-called Kegelstatt Trio ...
(with specific reference to the ubiquitous "turn")

>>I don't know why it took me so long to send a message on this subject as
>>this is certainly the best place to get a range of answers.
>>Ok, here I go
>>We all know the opening figure of the K498 trio first movement:
>>The problem is as such. Playing the figure exactly as written sounds to
>>mechanical and unrelaxed.

First of all, there is absolutely no question whatsoever as to what Mozart
wanted. In every single instance Mozart painstakingly wrote out exactly and
precisely the rhythm he wished to hear. I know--I looked carefully at each one
in the autograph. And, importantly, Mozart uses a few abbreviations at times
throughout the score, particularly in the piano part (not surprising, since he
most likely decided that his student, who was to play the part, would simply
receive full explanation by Mozart himself). However, there are NEVER any
abbreviations at all in the clarinet part. The figure in question, although it
resembles a turn, is in fact not a turn at all (i.e., not truly an ornament).
It is a fully integrated gesture in the overall musical thought.
Were it extraneous, Mozart had other devices at his disposal to indicate such.
It is not a musical "adjective," (something that describes, or, more musically,
something that ornaments or decorates), but is in fact a "verb." It is the
"action" in the musical phrase. One need only look at the phrase minus this
"verb" to verify this claim--if we eliminate the "turn," we are left with a
triadic figure--something which has no inherent motion. Further, the rhythmic
presentation of the notes of the triad have no clear rhythmic motion. The only
motion (the only true "activity") lies with the "turn." This "turn" is both
rhythmically active and melodically active. Therefore it is in fact the exact
opposite of a decoration or ornament...it does not beautify an active melody, it
*IS* the active element.

I believe this phrase is among the most misunderstood in our literature, and the
misunderstand arises from the figure's resemblance to the very common "turn."
How ingenious of Mozart to take a "turn-like" figure and transform it from its
usual role of decoration and lend it full melodic status!

The current editions are all suspect...I have examined them all and none
actually reflect the autograph. The most glaring errors are found in the trio
of the minuet, where wrong notes have come to be accepted as correct over the
years. (A product of editors "correcting" Mozart.) I will send detailed
information if anyone is interested.

As to performance preferences, well, I can give you mine, whatever they may be
worth to you. It is my opinion, as stated by other commentators, that the
figure is usually played too loud. This is most likely a result of its
difficulty, but none the less it is most frequently presented too loud to
balance the surrounding musical information. And, since it is in fact the
POINT and PURPOSE of the phrase, as opposed to a decoration, every note must be
heard. Not easy! I also believe that most play the first movement too fast.
If these meager insights are of any help, I will be delighted to discuss the
Trio at length, since it is among the most misunderstood works we currently
perform.

Best regards,
Stan Geidel
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Dr. Stanley M. Geidel | Personal replies to:
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Ball State University | Internet: 00smgeidel@-----.edu
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