Klarinet Archive - Posting 000439.txt from 2000/06

From: "Alf Hörberg" <alf.horberg@-----.se>
Subj: SV: SV: SV: [kl] Alf Horberg's comments
Date: Mon, 12 Jun 2000 20:21:12 -0400

So, these '3' references business is the reason why you have bombarded me
with all those, off topic, descending thirds you rat.
OK, I never heard of that before. Where did Thea get it from. I guess I have
to study the score again with this new information kept in mind.

Eric's e-mail adress is in your private mail.

As I remember, the vent hole is exactly where the tube changes direction. To
be sure you've better ask him.

Thank you too and thanks for the new information.

He he, it's strange he didn't write it as a waltz.

Alf

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

> 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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