Klarinet Archive - Posting 000176.txt from 1997/06

From: "Todd and Lynnette Staley" <nette@-----.net>
Subj: Re: Improvisation (2)
Date: Sun, 15 Jun 1997 01:13:38 -0400

Dan,
Please let me clarify myself. I do believe that adding embellishments to
music is very acceptable and is what makes a piece, such as the Mozart,
interesting to hear over again by different artists. I believe that this
was always done, certainly in Mozarts time. However, I have not been
accustomed to calling these added touches "improvisation". To me improv is
much more of an involved process than a turn, a neighboring tone, passing
tone, etc. Possibly I am wrong, and please correct me if I am, but I have
understood improv to be using the tonal structure of the written music and
actually changing the line, etc to be related to the piece being played
however very different in character. I have not been extensively
introduced to improv on clarinet and embellishments of any kind were
called just that. I recently played the Rossler Concerto and added a great
number of embellishments to make the piece bearable due to the repetition
of arpeggios, etc which were quite boring as played. I have not done a
great deal of investigation on changes on the Mozart, but did do extra
things to it when I played it to keep myself entertained. I do worry about
changing the character of the music. I believe that it was intended to
sound a certain way and anychanges that are made should remain in that
character and be compatible. Sorry to ramble. The Mozart is very close to
my heart. It really is a masterpiece.
Lynnette
--
Todd & Lynnette Staley
email: nette@-----.net

----------
> From: Dan Leeson: LEESON@-----.edu>
> To: klarinet@-----.us
> Subject: Re: Improvisation (2)
> Date: Saturday, June 14, 1997 8:46 AM
>
> > From: MX%"klarinet@-----.86
> > Subj: Re: Improvisation (2)
>
> > Craig,
> > Is there a really good reason that you feel the need to change the
Mozart?
> > I have never heard of anyone changing it. There are places for improv
but
> > 622 is not, IMHO one of them. If by improv, you mean adding turns,
etc, it
> > may be acceptable in spots but the piece has served many in the past
with
> > no changes at all.You really could change the character of the piece.
> > --
> > Todd & Lynnette Staley
> > email: nette@-----.net
>
> Todd, with great respect, I am forced to disagree with your thesis
which,
> if I understand it, suggests that K. 622, among other works of that
> era, should not be subject to performer created ornaments, instantan-
> eously created; i.e., improvised on the spot.
>
> On the contrary, I suggest to you that Craig's request is a very
> reasonable one, that it has serious historical precedent, and that
> any performer of that era was expected to do exactly that in any
> performance of not only solo works, but chamber music, and even
> orchestral playing.
>
> And let me make my point even more specific: doing this thing has
> nothing to do with the music needing it or not. The central issue
> rotates around the role of the soloist in the late 1700s; i.e.,
> was the player a reproducer of someone else's music, or what the
> player a participant in the creative process?
>
> You are correct when you state that "You could change the character
> of the piece" but that is nothing more than a challenge to
> improvise without doing that thing. It is for this reason
> that I am being so inquiring of Craig who simply says that
> he wants to do it. And if, with no understanding of the
> parameters involved, he simply goes ahead and does it, it is
> absolutely certain that what he will arrive at is something
> so badly out of character that anyone listening to it will
> say, "The guy is crazy."
>
> You have touched on the heart of problem when you agree that
> it might be OK to add turns here and there. The question is
> "What can you do, and where?" "How" comes later.
>
> But for you to suggest that it was not done in Mozart's time
> by every and any competent professional performer flies in
> the face of history.
>
>
> >
> > ----------
> > > From: Craig E. Countryman <cegc@-----.net>
> > > To: klarinet@-----.us
> > > Subject: Improvisation (2)
> > > Date: Saturday, June 14, 1997 8:54 AM
> > >
> > > Any information about either classical or jazz or both would be
great.
> > > For instance, in the Mozart Concerto. Also, if I need to improv
some
> > > jazz stuff where do I begin?
> =======================================
> Dan Leeson, Los Altos, California
> Rosanne Leeson, Los Altos, California
> leeson@-----.edu
> =======================================