Klarinet Archive - Posting 000196.txt from 1999/05

From: "Dan Leeson: LEESON@-----.edu>
Subj: Re: [kl] Pamela Weston's Mozart
Date: Fri, 7 May 1999 21:13:30 -0400

> From: MX%"klarinet@-----.81
> Subj: Re: [kl] Pamela Weston's Mozart

> 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

Keith, I read your article with great interest. I don't see The Clarinet
much but when I heard that there had been a contribution on the subject
of the various published editions, I made the effort to get and read it.
It was certainly worth my time and trouble and I thank and congratulate
you for it.

>
> 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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>
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=======================================
Dan Leeson, Los Altos, California
leeson@-----.edu
=======================================

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