Klarinet Archive - Posting 000373.txt from 1997/06

From: "Dan Leeson: LEESON@-----.edu>
Subj: Keeping improvisation in focus
Date: Sat, 21 Jun 1997 04:33:53 -0400

A number of postings have directed themselves to the issue
of spontaneous improvisations in K. 622. But I want to stress
that this discussion applies to all works of this epoch.

Spontaneously created performer embellishments are equally
appropriate in K. 581, K. 452, K. 375, K. 388, K. 361, etc., etc.
And if the conductor permits it, it is also appropriate to
Mozart's orchestral music, both that composed as accompaniment
(to the piano concerti, for example) and otherwise, (the
g minor symphony, for example).

Whenever I played the Mozart Requiem, I always improvised on the
first basset horn part if I were playing that line. And if
playing second basset horn, I would do it there too provided
that the first player was doing so.

In operas, I always found the solo clarinet opening to the
aria "Il mio tesoro" from Don Giovanni, a very good opportunity
to participate in the overall creative process.

Beethoven's music also supplies opportunities, such as in the
septet in E-flat with the slow movement's extended clarinet
solo. Even Shepherd on the Rock may be considered for
embellishment in the slower sections.

I just did not want anyone to think that what we were referring
to was applicable only to the concerto, K. 622. It was a
performance practice for all music of the period.

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