Klarinet Archive - Posting 000696.txt from 1998/07

From: <EbKlarinet@-----.com>
Subj: [kl] Mozart's bsn vs cl concerto
Date: Tue, 21 Jul 1998 23:41:31 -0400

Ed Lacy commented:<<<<<<<<<<<<<<<<<<<
But, even in a youthful work such as the bassoon concerto, there is ample
evidence of genius. I find the clarinet and bassoon concertos to be very
different in musical content, and perhaps in musical intent, but I don't
think either of them is inferior in any way. Do you?>>>>>>>>>>>>>>>>>>>>>

Yes, Ed, I definitely think the bassoon concerto is inferior to the clarinet
concerto, but that's not to say that it is inferior music. I was commenting
on the fact that I was glad that Brahms wrote all of his cl stuff late, so we
could all benefit from his musical maturity.I think the same thing about
Mozart. I have played the bassoon concerto on alto sax [but not in
public!:~)], and I enjoy it very much, esp. since the 2nd mvt reminds me of
the Countess' beautiful aria "Porgi amor" from the Marriage of Figaro (I'm an
opera singer, too!) I used to think that the reason I thought the clarinet
concerto was so superior was because I wasn't exactly impartial, being a
clarinetist; but it's not just my opinion--everything I've read about the
subject says that the clarinet work is simply the greatest wind concerto he
wrote, and possibly the greatest concerto for any instrument in his entire
output. In the book The Compleat Mozart, Neal Zaslaw says, in part, "..this is
M's greatest wind concerto. The galant era of the flute, oboe, and bassoon
concertos is past, the almost concertino-like succinctness of the horn
concertos is now unnecessary. The cl concerto is of the same depth and
breadth of conception as the late piano concertos, and possesses the same
serenity and sublimity as the very last, K. 595...the amazing wealth of moods,
colors, and images of the development are purely the result of M's mastery in
transforming and reshaping the music of the exposition: he no longer has any
need to invent new themes...the adagio is music of utter simplicity, which
seems to refect the timeless and beautific vision of a mind at peace with
itself...the melody is one of M's most naive and yet most mature
utterances...every such detail contributes to our awe at M's technical mastery
in his last concerto. The ear marvels, but only the heart can understand the
deeper message of this miraculous work." Zaslow's comments about the bassoon
concerto are lackluster in comparison. Of course, that is just one example,
but I've read this time and time again, in every reference book on the subject
of Mozart. I'm glad to know that non-clarinetists appreciate the work almost
as much as we do, and that we can rightfully crow about our great good
fortune!! <g>

btw, Ed, I'm so glad you covered that 'teachers and attention to individual
needs' point--I agree 200%! The main reason I'm a private teacher and not a
band director is because I found out that you have absolutely no life--your
band students own you, really, and then some people are still not satisfied!!
More power to you guys out there doing it!!!!!!!

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