Klarinet Archive - Posting 000358.txt from 1997/06

From: Jacqueline Eastwood <eastwooj@-----.EDU>
Subj: Re: Mozartan Improvisation
Date: Fri, 20 Jun 1997 17:44:42 -0400

On Fri, 20 Jun 1997, Craig E. Countryman wrote:

> 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.
>
> 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.
>

I wouldn't categorize myself as "opposed to improvisation", but I do
believe one needs to exercise considerable judgement as to when, where,
and how. During this discussion of the Clarinet Concerto, I was actually
thinking about the slow movement (fourth?) of the Gran Partitta. What a
gorgeous opening, yet it starts out so simply. The "ornamentation" is
written out (at least in the parts I've used; I haven't seen the
autograph, so will not go there!), but the majority of melodic lines in
this work are extremely simple. So the performer has to come up with some
way of breathing a soul into this piece. I think I would be highly
outraged if some half-baked bonehead came along and decided that this was
"too boring" and proceeded to add a few more ornaments to liven things up
a little. This piece is to die for, it's SO beautiful (IMHO). I will
defend it against all who threaten to sully its virtue.

So let's not put the cart before the horse, shall we? Simplicity and
repetition have their respective purposes in music too.

Dan L., I almost welcome your flame this time, because it's so ^&*(%$ hot
here in Tucson this week that it will feel like a gentle breeze.

Jacqueline Eastwood
University of Arizona/Arizona Opera Orchestra
eastwooj@-----.edu