Klarinet Archive - Posting 000208.txt from 1996/11

From: "Dan Leeson: LEESON@-----.EDU>
Subj: Mozart articulations
Date: Sat, 9 Nov 1996 16:33:54 -0500

> From: MX%"Labadorf@-----.93
> Subj: Re: Articulation in Mozart

>
> In a message dated 11/9/96 5:16:52 PM, Dan Leeson wrote:
>
> >
> >Also examine the 2nd clarinet part in the wind sextet version of K. 375,
> >final movement. An absolute killer, but that is what the man wrote,
> >and he generally wrote what he wanted to hear.
>
> Dan, you're confusing me a bit. You have me convinced that Mozart expected
> the performer to improvise certain lines particularly repeated sections.
> With Mozart interpretation I thought the point was that he *didn't* always
> write what he wanted to hear. If certain embellishments were assumed in his
> music, why isn't articulation treated the same way?

There are two issues involved here, Tom. One of them deals with rapidity
of articulations, generally during fast passages. The other deals with
the fact that improvisation is used to alter melody, not surface texture
of the composition.

With rapidity of articulations, you are faced with a potential contradiction:
one is generally not invited to improvise is fast passages, only in slow
ones (though there is no law against doing that - it is a matter of
gilding the lily).

With improvisations being designed to alter melody, there is no
contradiction since modification of articulation changes the surface
texture of the music, not the melodic content.

But there is merit in what you say, as well. I can very well conceive
that, in repeated sections, the alteration of articulation (maybe even
the alteration of rhythm) could very well be used as an improvisatory
device. I simply have never considered articulation as being an
improvisable element in music and maybe I should broaden my sights.

What speaks against it, however, is the fact that the surface texture
of music (fast music, that is) from this era was much preferred to
be rougher than we are used to today. So if one gives a player the
liberty to change the surface texture, it is probably easier to wander
out of stylistically acceptable practice there than anywhere else.

My overall reaction is that the question was directed to how Mozart
wrote his articulations in his scores. And to that question it is
absolutely the case that he was careful to write what was in him
mind. On the other hand, since one can alter what was in his mind
vis-a-vis melody, I suppose there can be no fundamental objection to
doing it for things other than melody.

I may have to go into rethink mode.

>
> Tom L.
> Clarinetist, U. S. Coast Guard Band
> Adjunct Instructor, Connecticut College, New London CT
> Labadorf@-----.com
====================================
Dan Leeson, Los Altos, California
(leeson@-----.edu)
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