Klarinet Archive - Posting 000451.txt from 1997/06

From: Gary Young <gyoung@-----.com>
Subj: RE: Repetition, novelty & boredom (fka: RE: Mozart, K. 622: Oh No!! Not again...)
Date: Mon, 23 Jun 1997 23:44:14 -0400

The theme of repetition is surely getting repetitious. Perhaps this should
be called: FLOGGING A DEAD HORSE. Those of you who are sick of this topic,
read no further.

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*************

On June 21 Craig Countryman wrote, responding to my posting of June 20:

"I already told you [i.e. me, GY] that the theme is repeated in the first
movement [of the Mozart concerto] and looking at the score I named those
places. It was my earlier posting where I listed those places. I have
since deleted it, but check the archieves because I very clear told you
when and where the theme was and where to find it in black and white.

"I have still not heard your arguement of why not to improvise supported
by solid evidence. My view is based on discussion with Dan, as well as
research on my own of Mozart's music. I have no problem with you
disagreeing, but I urge you to tell me why using resources other than
opinions. I would be interested to know." <snip>

1) Craig, I have searched my files, and have found the posting (from June
20) you refer to. I stand corrected -- you did point to a short theme that
occurs five times, though in different voices and significantly different
settings:

"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?"

It seems to me (GY) these five appearances of this three-note motif are
sufficiently different that one could argue that there is no need to
improvise to make further differences. I also have doubts that where the
theme appears in canon between strings and clarinet, it is appropriate for
the clarinet to improvise on the theme, for that would impair the canonic
effect. (The violins should improvise too?) But here I'm guessing, and
would have to rely on someone knowledgeable on this subject, such as, to
pick someone at random, Dan.

2) You misunderstand my position. I never said you should not improvise,
and indeed have noted several times that I find improvisation pleasurable,
citing, for instance, the performances of Neidich and Levin, which I love.
As far as I can tell, no one on this list has denied that appropriate
improvisation is DESIRABLE. All I have said is that improvisation is not
ESSENTIAL to every performance -- that it is not morally or aesthetically
wrong for those of us who do not improvise to perform these works, and it
is not morally or aesthetically wrong to listen to and appreciate
performances without improvisation. If you deny this, then we disagree.
Otherwise we don't.

Sorry I didn't recall your earlier posting!

Gary Young
Madison, Wisconsin

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