Klarinet Archive - Posting 000432.txt from 2000/06

From: Tony@-----.uk (Tony Pay)
Subj: Re: SV: SV: [kl] Alf Horberg's comments
Date: Mon, 12 Jun 2000 18:03:26 -0400

On Mon, 12 Jun 2000 23:27:06 +0200, alf.horberg@-----.se said:

> 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? ;- )

Yes.

But it sort of got mixed up with another thread that ran a couple of
weeks ago, all about the number 3 in K622. Try:

http://www.sneezy.org/Databases/Logs/2000/05/001031.txt

...so the fact that the alteration contains this repeated descending
third makes it more likely, for me, that Mozart wrote it. My thesis is
that Mozart was deliberately incorporating these '3' references -- and
as you say, without the B, it's difficult to think of another solution
anyway. So when you say:

> 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.

...what choice did he have, if he didn't have the low B? And the
'cryptic reference' theory goes some way towards explaining why it's not
very typical Mozart, just as it explains why the end of bar 94 differs
from the rest of the passage *in Mozart's manuscript*.

Even so, like you:

> I still consider bar 295 being a possible place for using the low
> B-natural if I ever get an instrument like that.

...but it's over so quickly that I'm not so bothered about it, and as I
say, I like the thirds.

I'm convinced, though, that 298ff works well down the octave. (It's a
bit tricky, isn't it:-(

> 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.

Yes! As I say, they're all over the piece.

I was amused a few years ago to realise for the first time, after
knowing the concerto for over 30 years, that the second bar is a
decoration and the third bar a diminution and repetition of the first.
It really alters how you think of it.

> 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.

Do you mean actually where the tube changes direction, or afterwards?

Did you have an email address for Eric?

And, thanks for being willing to play with me!

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE www.gmn.com/artists/welcome.asp
tel/fax 01865 553339

... Laddie, ya think ya might like ta ... rephrase that?

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