Klarinet Archive - Posting 000336.txt from 1997/01

From: Guillermo Octavio Prado <goprado@-----.EDU>
Subj: Re: How much opinion vs. how much fact (fwd)
Date: Tue, 21 Jan 1997 22:26:10 -0500

sorry, this is probably the second or third posting of this.

Guillermo Prado
UM School of Music
goprado@-----.edu

---------- Forwarded message ----------
Date: Tue, 21 Jan 1997 12:52:25 -0500 (EST)
From: Guillermo Octavio Prado <goprado@-----.edu>
Subject: Re: How much opinion vs. how much fact (fwd)

Guillermo Prado
UM School of Music
goprado@-----.edu

---------- Forwarded message ----------
Date: Mon, 20 Jan 1997 18:28:54 -0500 (EST)
From: Guillermo Octavio Prado <goprado@-----.edu>
Cc: Multiple recipients of list KLARINET <KLARINET@-----.BITNET>
Subject: Re: How much opinion vs. how much fact

wow, it is amazing how an issue -like which clarinet should be used at a
particular passage, etc.- can snowball in this email group. i think it's
great! i've learned quite a bit from some of the messages, and it's always
nice to have new email waiting to be read. i just wanted to say that the
person that suggested playing the beginning of the brahms in a (i'm not
sure who it was at this point), was basing his opinion on the practicality
of it. as far as i am concerned, i think nobody would make brahms turn on
his grave, as long as the cl. player produced a beautiful sound,
regardless of the instrument. then again, it is not impossible to make the
switch... so it should be done.

moving on, i have a little dilemma and i hope all of you out there
might give a suggestion or two. here it is: i'm working on weber's first
concerto. i own a couple of editions, the cundy-bettoney that i have from
my freshman year and the weston ed. which i purchased recently. i guess
the weston is the kind of the urtext. anyway, it has a cadenza written by
busoni (which i might add is gourgeous). it is played before the beginning
of the solo though. how do you feel about this cadenza (for those of you
that know it). my other question is: what are thoughts on articulation and
embellishments throughout this piece? it seems that most editions vary.
i've done a lot of listening; sabine meyer, shuhei isobe, a. pay,
marriner, e. johnson (which i don't recommend to anyone). some agree at
certain point. do you think i should just come up with my "own edition"?
thanks for your thoughts/time.

Guillermo Prado
UM School of Music
goprado@-----.edu