Klarinet Archive - Posting 000349.txt from 1997/06

From: "Craig E. Countryman" <cegc@-----.net>
Subj: Mozartan Improvisation
Date: Fri, 20 Jun 1997 17:44:33 -0400

I think the prejudice in Mozart is our view of his music today. We are
influenced by how we have been taught to view it, and by what we have
heard. These things we have learned do not neccesarily reflect how his
music was taught and heard in that period. Obiviously none of us lived
during that time so it is impossible to know exactly how every figure
was played, but we have a good idea from the volume of works Mozart
left.

By comparing the works and specific elements of them, pick-ups an
example, we can see how Mozart viewed improvisation in his work.

I am NOT saying his music is not beautiful without improving because
that is far from the truth, but part of what makes is beautiful IS
improvisation! Examine the full score of the clarinet concerto the same
half note followed by the dotted quarter eighth theme appears in m. 1
with the orchestra tutti, at the clarinet's 1st solo, in a slightly
different form after the Grand Pause in Violin 1, at the next solo
section, after some development in another solo part, after ANOTHER
grand pause, 5 times in the movement. This happens with various other
themes as well, but you get the idea. I am not saying it's a bad theme,
but how many times do you want to listen to the same thing? Answer
honestly, after hearing a single theme five times, and also other themes
repeated, are you not ready for the piece to move on?? Improvisation
adds variety and keeps the piece moving! I am not talking MAJOR
changes, just a few pick-ups here, or various additions that one gains
for an in depth study of how he handles similar situations in other
pieces, Dan made a good example to me of pick-ups in a piano concerto,
upon the piano enterance in the first movement. The piano merely
repeats the tutti section, but these pick-ups facilitate the transition
as well as add a little something. Could you not add a similar figure
before the clarinet enterance after the tutti in Mvt. 1, K. 622?

Is that a horendous crime against the work of Mozart, adding vile
pick-ups and other abominations to his work? NO, because he left room
to do just that!

They are wonderful works and they are worth playing, no one is
contending that! But, aren't you violating his precious wishes by not
improvising? What would he say if you finished his concerto playing
everything on the page brilliantly, but without improvisation?

It is my humble opinion that he wouldn't like it, but this is only my
view. I can't say for sure. Likewise, another can't surely say he
would applaud either. So where does this leave us? It leaves us to
figure it out using the tools he left us, his music. To find the answer
we really have got to examine his works. I am in the process, and from
my studies so far I am of the opinion improvisation is good so long as
it has justification.

I would like to hear from those of you who are opposed to
improvisation. What grounds do you use other than "his work is genius,
we mustn't change it". Is this really valid, or something we believe
because it is the popular view?

In conclusion, it is appearent: the man was a genius! The big thing we
sometimes overlook is what he really wanted, not what we have been told
he wanted, or we think he wanted, but what he wanted. This can only be
discovered through research of the subject. Then a truly enlightened
discussion can commence.

----------------
Craig Countryman
cegc@-----.net
http://users.sunline.net/cegc/ Both of my pages are under
http://www.geocities.com/Vienna/1711 construction!

Quote of the Day

"Democracy substitutes election by the incompetent
many for appointment by the corrupt few."
-George B. Shaw (1856-1950)