Klarinet Archive - Posting 000436.txt from 1998/02

From: Labadorf@-----.com
Subj: Re: Identifying the place for a cadenza
Date: Tue, 10 Feb 1998 13:52:20 -0500

Dan,

If Elizabeth won't ask, I might as well. There are other moments that are
"red flags" to the performer that s/he should improvise an unaccompanied solo
- those moments that are *not* called cadenzas. Are these other moments
always set up the same way every time?

The three improv moments in KV 622 that you mentioned earlier I believe are
the two fermatas in the exposition and recapitulation (mm. 127 & 315
respectively) and the one usually mislabeled moment in the second movement.
Each of these is set up by a dominant seventh chord which resolves to a tonic
in the beginning of the following phrase. I take it that these moments need
to be very short lest we miss the relationship of the dominant seventh to the
tonic. Might the soloist expect to improvise some short "connection" in m 221
of the third movement, or in the fermata measure in the first movement
exposition of Mozarts Trio w/ viola and piano? (These moments are not set up
by either a tonic 6/4 or a dominant seventh)

Another question comes to mind regarding a spot in KV 622 - namely first
movement mm. 198-200. These measures are set up with a tonic 6/4 and give a
hint of a cadenza. I've always heard (at least in my head) these measures
treated as a quasi cadenza if not using different notes at least in taking
them out of tempo. Or, maybe improvisation is totally appropriate here as
well?

Tom Labadorf
Clarinetist, U. S. Coast Guard Band
Adjunct Instructor, Connecticut College, New London CT
Adjunct Instructor, Hartt College of Music, Community Division
Labadorf@-----.com