Klarinet Archive - Posting 000244.txt from 1999/04

From: Yitzchok Gurevitz <yitzg@-----.com>
Subj: [kl] Re: Harpsichord in k.622?
Date: Mon, 5 Apr 1999 13:10:20 -0400

On 4 Apr 1999 LEESON@-----.edu wrote:

> I have no idea what Lawson has in mind if, as you say, he has
> a harpsichord playing fill-in-the-gaps. While that might have
> been appropriate for music 50 years earlier, I don't know of
> a tradition to have harpsichord fill-ins for solo non-piano
> instrumental literature of this period. Certainly no such
> plan exists for the bassoon concerto, the horn concerti, the
> flute concerti, the oboe concerto (for which no autograph exists
> so I'm not sure on this one), the violin concerti, the concerti
> for multiple instruments such as the violin/viola concertante,
> etc. He might have some reason for doing it that I don't know
> about. Is there something in the record jacket notes that
> explains his action?
>

No. There is a harpsichordist mentioned in the credits, but that's it.
Thanks to Steve Goldman I realized that what it's playing is continuo,
i.e. basically doubling the basses. It does seems to try to be an
'authentic' performance, judging from all the talk in the liner notes
about the basset clarinet and the missing minuet form Ein Kleine
Nachtmusik etc. The harpsichord is also used in the other works on this
disks; Symphony no. 40, and Ein Kleine Nachtmusik.

All in all, it is a very good (and intresting!) K. 622 to my ears, and I
think that he does the Einganges (sp?) that have been talked about here.
The clarinet is also very prominent in the first 7-8 mesures of the
opening tutti of the first movement, while it can hardly be heard in most
other recordings. There are some more things that he does that I can't
really put my finger on, and will probably take some repeated listening
for me to realize.

-yg

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