Klarinet Archive - Posting 000192.txt from 1999/05

From: Keith P Koons <kkoons@-----.edu>
Subj: Re: [kl] Pamela Weston's Mozart
Date: Fri, 7 May 1999 14:58:01 -0400

Dear List,

Greetings to all! I am back on the list after several months absence, for
various reasons.

The Universal Edition Mozart Concerto has been available in the US for
some time. It is included in my article "A Guide to Published Editions of
Mozart's Clarinet Concerto..." which was printed in the May/June issue of
_The Clarinet_, Vol. 25, no. 3. It is quite different and very
interesting to examine.

Keith Koons, Associate Professor of Music
University of Central Florida
P.O. Box 161354, Orlando, FL 32816-1354
Office (407) 823-5116 Fax (407) 823-3378
http://pegasus.cc.ucf.edu/~ucfmusic

International Clarinet Association:
Chair, Research Presentation Committee
Project Director, Clarinet Anthology
http://www.clarinet.org

On Fri, 7 May 1999, Tony Pay wrote:

> OK, Dan, I was lying there in bed, and I thought I might have unduly
> disturbed or excited you, so I got up a bit early to tell you that all
> it is, is that Pamela has based her edition on a contemporary
> arrangement of the concerto for fortepiano and string quartet that she
> has dug up.
>
> The arrangement is by C.F.G. Schwencke (1767 - 1822), and it was
> published between 1799 and 1805 by Boehme.
>
> A lot of it is pretty much unplayable on the period clarinet, and I
> think it's a bit of a disaster all round that it's been published in
> this way, as a *version* of the clarinet concerto, as opposed to being
> published as an interesting arrangement of it. (You might pick up some
> ideas about contemporary embellishments, it's true, but that's all.)
>
> It should make lessons 'interesting', if students turn up with it.
>
> The point for me is that the first part of the first edition is so close
> to the Winterthur fragment that such a fortepiano arrangement doesn't
> really cast doubt on the veracity of the first edition, any more than
> does the version for viola, whereas Pamela seems to think the contrary;
> and the almost routine filling out of long notes and constant trills and
> embellishments in the arrangement, which she incorporates wholesale,
> might have been necessary on the fortepiano, but aren't necessary, or
> indeed idiomatic, on the clarinet.
>
> Anyhow, the purpose of embellishment, as you've said, isn't to *start*
> with something different from what the composer wrote -- and for me it's
> quite clearly that, certainly without any doubt at all in the first part
> of the first movement.
>
> You have to see it, really, diminished 7ths, chromatics and quintuplets
> and all.
>
> But of course, you might have a different opinion of it.
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
> ... If I save the whales, where do I keep them?
>
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