Klarinet Archive - Posting 000336.txt from 1997/06

From: fgarcia@-----.edu (Frank Garcia)
Subj: Re: Mozart, K. 622: Oh No!! Not again...
Date: Fri, 20 Jun 1997 11:42:13 -0400

Regarding ornamentation of the Mozart Concerto, I am writing this because
of the excitement I felt at Craig Countryman's post. It is always exciting
to see young musicians "have a revelation".

I own 20 recordings of the Mozart Concerto. All of the performances are
very similar. A few performers slur more than others. Some play the piece a
click or two faster or slower than others. Some performers perform on
basset clarinet, often changing octaves in places because of the additional
range of the instrument.

A few of my recordings stand out, and I use these recordings as my own
personal reference of fine performances. Quite a few records/cds have
remained nearly unplayed since I purchased them. The one recording that
made the most lasting impression is the Antony Pay recording with the
Academy of Ancient Music. He adds a few ornamemts which (in my opinion),
helps to make this performance more interesting than most. He also
disregards the frequent tendency to slur long passages of running sixteenth
notes which, may or may not be everyone's cup of tea, but certainly is
different and interesting to hear. It is a unique performance in comparison
to others.

As a "classially trained" musician, I have held firmly in my belief that
the performer should not to place personal style above a composition's
content. I believe that the true genius of both the composer's music and
one's interpretation of that music will shine through as long as the
content of the composition is brought to full flower by the *interpretive*
powers of the performer. The performer does not reflect personality or
style, because this gets in the way of the composition.

I believe that many performers have their own (perhaps similar)
philosophies regarding performance and interpretation. Although this
approach works well with Brahms, Schumann, Stravinsky, Berg, etc., it is
not the *entire* answer to the "interpretation" of the Mozart Concerto.

>From a fairly mature musician's standpoint, I have realized that there is
something lacking in nearly all of the performances of the Mozart Concerto
that I own. I am also aware of the good fortune of having perhaps the
greatest Mozart concerto written for the instrument that we play. But, we
treat this piece as though it is a painting, or some other untouchable and
unbellishable work of art. I believe it is our duty to *perform* this
piece, not merely to *interpret* it.

I embellish certain passages of the Mozart Concerto, using examples of
Antony Pay and some "hand-me-down" knowledge from a former accompanist (who
was quite knowledgeable in classical ormamentation). But I would like to
learn more, so that I can develop my own, more "personal" arsenal of
ornaments in order to perform this masterpiece the way I (& Mozart) want to
perform it.

Dan, could you suggest some materials, scores, etc., for me to study in
order to learn more about this fascinating and liberating subject?

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Frank Garcia fgarcia@-----.edu
Clarinet Instructor (715)394-8115
University of Wisconsin-Superior
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