Klarinet Archive - Posting 000959.txt from 1999/01

From: "Steven J. Goldman M.D." <gpsc@-----.com>
Subj: RE: [kl] Cadenzas and Eingange
Date: Tue, 19 Jan 1999 09:03:29 -0500

Dan, aren't you going a bit over the top in regards to cadenza and Eingang.
You are making it appear that your interpretation applies to most music
prior to 1830! Now in the first place the use of the terms in the 18th C.
were very much more fluid than one would gather from your messages. Many
times, the terms Eingang and cadenza were lumped together by theorists who
would just call them cadenzas. Also, what constituted the correct way to
perform them varied widely from place to place, not to mention from
generation to generation, and therefore you need to be a bit clearer on the
date and location where you feel the differences were as strongly noted as
you say (I assume it would be late 18th C. Vienna), along with the caveat
that performers in other locations may have done it differently. Finally,
there are numerous examples of performing manuscripts with cadenza like
additions to parts that you would say call for an Eingang, written by very
highly thought of performers of the era, so the 18th C. soloists (as well as
Jacques Ibert) did not always feel as strongly as you do.

Steve Goldman
Glenview, IL

sjgoldman@-----.com

-----Original Message-----
From: Dan Leeson: LEESON@-----.edu]
Subject: [kl] Cadenzas and Eingange

David Glenn asked about the harmonic, technical, and performance
differences between a cadenza and an Eingang. I did not give it
in my original note because I have described it in the past, but
since new people come on all the time, it is worth a repeat and I
thank David for bringin it up.

I am speaking only about music up to around 1830, and specifically
I'm focusing on Mozart's clarinet solo music......

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