Klarinet Archive - Posting 000222.txt from 2000/06

From: @-----.se>
Subj: SV: [kl] K.622 Reconstruction
Date: Thu, 8 Jun 2000 20:00:21 -0400

Sorry Tony, I can't read my own notes. It's supposed to be measure 107 =
and nothing else. A D-major arpeggio, 16th: f# a c a f# d c a =
quarter-f#. The parallel spot in the recap. is 295, printed: G-major =
arpeggio: 16th: b d f d f d b g quarter-f. My suggestion: 16th: b d f d =
b g f d quarter-b. Like that it follows the same line and you avoid the =
repeated fdfd. I hope this is more clear.

In my old Breitkopf standard edition measure 147 appears f d b b and not =
f d d d, all in the chalumeau register. I guess it's the same as the =
1803 edition. Does this answer your question?

How do I turn off the MIME. I'm anything but a computer technician.

----- Original Message -----=20
From: Tony Pay <Tony@-----.uk>
Subject: Re: [kl] K.622 Reconstruction

> On Thu, 8 Jun 2000 23:48:01 +0200, alf.horberg@-----.se said:
>=20
> > When Eric Hoeprich the first time showed me the reconstruction of =
the=20
> > "Riga-Stadler" basset-clarinet, he had made a discovery that if he=20
> > closed the vent hole on the knee joint of the pointed bell, put =
there
> > for tuning the low C, he could play a perfect low B natural. We went
> > through the concerto and found two spots where it would be musically
> > appropriate to play this low B natural. The spots in a version for
> > basset clarinet are:
> >
> > 1st. Mov. recapitulation measure 295, 3rd beat, final note of the G7
> > arpeggio. The whole measure will be: bdfdbgfdb, instead of: =
bdfdfdbgf,
> > exactly the same as in the exposition, measure 102. Played like this
> > one avoids the repeated fdfd in measure 295 that I always found very
> > annoying.
>=20
> I'm sorry, Alf, you'll have to explain that to me again. There don't
> seem to be enough notes in your 'whole measure', and measure 102 in =
the
> exposition is a different bar altogether. Did you mean bar 111? But
> that's quite different too.
>=20
> Could you spell out all of bar 295, all sixteen notes?=20
>=20
> > The other spot is:
> >=20
> > 3rd Mov. transition, measure 147, to get the whole section 145-157 =
in
> > the low octave, to avoid the octave jump down, at the upbeat to 150.
> > To me this idea makes perfect sense. However, we can never find out =
if
> > the original instrument had this vent hole or some other =
construction
> > for playing this low B natural so this will remain a mystery.
>=20
> Yes, I understand that one.
>=20
> Did you read what I said about that in my previous post in this =
thread,
> where I said that someone had shown me an edition in which 147 appears
> as F D D D, but *an octave up*? And what that seemed to imply? =
Again,
> does anyone know whether that's one of the 1803 lot?
>=20
> By the way, can you turn off MIME in your mailer? I do have a
> mime-enabled mailer, but it's not the one I usually use for mailing
> lists. Most people here post in standard ASCII text.
>=20
> Tony
> --=20
> _________ Tony Pay =20
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE =
www.gmn.com/artists/welcome.asp
> tel/fax 01865 553339 =20
>=20
> ... Two wrongs are only the beginning.
>=20
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>=20
>=20

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