Klarinet Archive - Posting 000426.txt from 2000/06

From: "Alf Hörberg" <alf.horberg@-----.se>
Subj: SV: SV: [kl] Alf Horberg's comments
Date: Mon, 12 Jun 2000 17:31:50 -0400

Tony, let us stop for a moment now to recall what this discussion is all
about.
I happened to mention in my very first message that there might.... be a
possibility that the original basset clarinet maybe was equipped with a low
B-natural. If that were to be the case, I mentioned two possible spots in
the concerto where this possible B-natural could be used. That's the issue
we discuss, isn't it? ;- )

You have, sort of, accepted one already. About the other spot, bar 295 in
the 1st movement, I gave an explanation why I thought it would be a good
idea to reshape the phrase so it became like the parallel place in the
exposition. The reason I gave was that I always felt very strange about
these repeated thirds that I think break the line in the run. To me they
have always felt like a bump in the road. It's not that I dislike repeated
thirds in general, but in this case I never felt any thematic reason to
change it from the way it's written in the exposition if it wasn't for the
reason that a standard clarinet doesn't go deep enough. What I'm questioning
is that he is, to my taste, braking the arpeggio in a very strange way that
is unusual to Mozart. Not...the repeated thirds themselves. The examples of
repeated thirds you have given me so far is not at all what I mean because
they are not at all connected to what's happening in bar 295. They are not
strangely broken arpeggios. In that case you missed the best one, bar 170,
but that's like a fanfare before the next solo entrance. It's also(!)
different from the way it's presented the first time in bar 55.

However, having been thinking about it over the day, I can accept bar 295 as
being an ornamented version of the exposition. Also, the final 7th could be
an echo of the final 7th two bars before. Thinking like that I can accept
that phrase being originally from Mozart's hand, but I still consider bar
295 being a possible place for using the low B-natural if I ever get an
instrument like that.

As I remember Eric's instrument, the vent hole is located at the middle
point of the angle, on the left side. The bulbous bell is plugged but the
cover is removable and as I remember it, the opening is on the top.

Alf

----- Original Message -----
From: Tony Pay <Tony@-----.uk>
Subject: Re: SV: [kl] Alf Horberg's comments

> And because I was looking more closely than usual at the opening tutti,
> I saw my friend the repeated third at the last quarter of 23, repeated 4
> times slower in the next bar (three quarters this time).
>
> "I'm sure we've met before....."
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE www.gmn.com/artists/welcome.asp
> tel/fax 01865 553339
>
> ... Happiness: a perfume you can't give away without getting some
yourself.
>
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