Klarinet Archive - Posting 000330.txt from 1997/06

From: "Dan Leeson: LEESON@-----.edu>
Subj: Craig Countryman has discovered a basic truth!
Date: Fri, 20 Jun 1997 11:42:07 -0400

Craig, in hearing a performance of K. 622, felt that it was boring.
While that could be the case because of performer apathy or any one
of a number of other factors, he suggests that the boredom arose
as a result of multiple repetition of musical material without
sufficient variety.

That is EXACTLY the reason why improvisation in music of this
period serves a valid musical purpose.

Much of 18th century music is based on the principle of the repeat.
Minuets and trios are a perfect example. Not only are there
repeats within the sections, there are also "Da Capo" repeats that
require a repetition of an entire structural section. (And there
is controversy about taking section repeats within Da Capo repeats.)

Sonata-allegro form is another case of how large sections of
music are repeated within overall structure.

Rondo form is yet a third case. And the amount of repetition
in the final movement of K. 622 (which is a Rondo of the third
type: A-B-A-C-A-B[transposed]-A-Coda) is enormous.

I have invariably suggested that, no matter how elegant and
magnificently a performer executes K. 622, that, without
ornamentation, all performances of the work sound fundamentally
the same and boredom is one of the problems that can arise
when a lack of appreciation of the value of spontaneous
ornamentation causes every repetition to be played the same
way, over and over.

Mozart knew this. So did Beethoven, and to a lesser degree so
did Schubert. Their music is built to be ornamented by the
performer. A player does not violate the music. S/he
does what the composer expected them to do. S/he does what
the composer himself did when performing this music.

I don't know Craig, but his recognition of this fact says to
me that he has a keen, insightful mind. He has, independently
discovered the counter to the statement made often over the
past few weeks which says, "I don't want to improvise in this
kind of music because I want to play it as it was intended to
be played." Well, it was intended to be played with performer
created ornaments for the very reason that he suggests.

Congratulations Craig. If my daughter were not getting married,
I would let you marry her!

Anyone who wants to read how the subject of ornamentation in
Schubert's music is practically at the level of fistfights
in scholarly circles, should read Feb., 1997 issue of Early
Music and the article of David Montgomery, "Modern Schubert
interpretation in the light of the pedagogical sources of
his day."

=======================================
Dan Leeson, Los Altos, California
Rosanne Leeson, Los Altos, California
leeson@-----.edu
=======================================

   
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