Klarinet Archive - Posting 001352.txt from 1998/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Tempo di Polacca
Date: Fri, 30 Oct 1998 11:18:45 -0500

"Stodla" is just a phonetically-spelled rendering of the Viennese
pronunciation of "Stadler". It is interesting (to me!) that Mozart
apparently did *not* use this pronunciation himself, as a rule -
otherwise, he wouldn't have been making fun of him. That's by the way,
though. I don't follow at all why variant spellings should have anything
to do with the meanings of conventional musical directions. There seems to
be no connection whatever.
Roger Shilcock

On Fri, 30 Oct 1998, Fred Jacobowitz wrote:

> Date: Fri, 30 Oct 1998 10:58:58 -0500 (EST)
> From: Fred Jacobowitz <fredj@-----.edu>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] Tempo di Polacca
>
> Mr. Galper,
> You have a legitimate point. However, there is room for other
> tempi. Back then, musical terms were used quite freely and inacurately.
> For example, the Clarinet was spelled clarionet, clarinette, klarinet in
> ENGLISH publications. Mozart often re-spelled names such as 'stodla"
> (instead of Stadler, his basset-horn-playing friend). The terms "alla
> Polacca", Polonaise, Tempo di Polacca, etc. could mean virtually ANY kind
> of Polish dance. Chopin's polonaises were not always in the tempo of what
> dancers NOW know as a polonaise dance.
> I personally think that the feeling of a dance is much more
> important than an exact metronome marking. Look at the last movement of
> the Weber Qintet. It is also an "Alla Polacca". 94 is just too slow for
> it. ( and it is in duple meter, not triple!)
>
>
> Fred Jacobowitz
> Clarinet/Sax Instructor, Peabody Preparatory
>
> On Fri, 30 Oct 1998, avrahm galper wrote:
>
> > Rondo Alla Polacca
> >
> > This is the title of the last movement of Beethoven's triple concerto.
> > I just heard and set the metronome to it to see what it would be. It was
> > a quarter@-----.
> >
> > This was in Beethoven's time and also Baermann's time.
> >
> > I think that the last movement of Weber's concerto #2 should be played
> > at that tempo.
> > At the very end it could be speeded up a bit to give a bravura effect.
> >
> > --
> > Avrahm Galper
> > THE UPBEAT BAERMANN MELODIC SCALES AND ARPEGGIOS
> > http://www.sneezy.org/avrahm_galper/index.html
> >
> > -------------------------------------------------------------------------
> >
> >
>
>
> -------------------------------------------------------------------------
>
>

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