Klarinet Archive - Posting 000240.txt from 1998/12

From: "Craig Earl Countryman" <cegc@-----.net>
Subj: Re: [kl] Rossini
Date: Sun, 6 Dec 1998 02:05:41 -0500

-----Original Message-----
From: dnaden <dnaden@-----.net>
>Caution here. Just because a piece is written as a "theme and variations,"
that
>does not mean that as a style that is "less mature" than a three-movement
>structured work.
>
>If your point is that Rossini's Introduction, Theme and Variations is an
earlier
>work than some his later works, and thus more imature in his development as
a
>composer, that is different.

No, you are correct to take my point concerning maturity as one comparing
theme and vars. to the three movement. I wasn't intending to compare this
Rossini work to his later ones. It is a personal opinion I hold, having
played a ton of Theme and Variation pieces as a soloist and accompanying
other soloists, I think the form is trite and overused. After a while, it
takes much more from a Theme and Variations piece than a Three Movement
piece to impress me.

Rossini's is one example of a superior theme and variations piece because it
has emotion and room for the performer to capitalize on its musicality.
However, many other members of that genre lack that musicality, and are
inmature showcases for the soloist's technical superiority.

I think Theme and Variations is an important form, especially within the
larger works of Haydn, to be used in a larger work. However, I don't think
it has as much merit alone as other forms do. That's just a personal belief
I have from my experiences. Perhaps as I get older and have more exposure
theme and variation pieces which are better constructed my view will change,
but now I don't see it as being of equal merit, standing alone, with other
forms such as Sonata form, Rondo, Scherzo, etc.

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Craig Earl Countryman
cegc@-----.net
http://www.sneezy.org/clarinet/YPP/Craig.html
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