Klarinet Archive - Posting 000756.txt from 2000/06

From: "Ian Black" <clarinet1@-----.uk>
Subj: Re: [kl] Mozart Concerto - Quintet?
Date: Mon, 19 Jun 2000 17:02:26 -0400

Bill,

I agree with all of your reasoning for playing that section (311 by my Eulenberg mini score) in the
lower chalumeau region, but where the violins have an A and a C#, and the viola also has the A and
these are the only instruments accompanying at this point, I would favour the E (thumb and L1 -
concert C#) instead of the low F (concert D) to replace the out-of-range C. Although the F would not
be out of place as a passing note, the strings share an A and a C# - does it not make more sense
when we replace the A to do so with a C#? I think so.

Cheers!

Ian

Disclaimer tagline: (but it's only my opinion!)

----- Original Message -----
From: Bill Hausmann <bhausman@-----.com>
Subject: Re: [kl] Mozart Concerto - Quintet?

> At 10:12 AM 6/18/2000 +0930, John W. Sheridan wrote:
> >I am considering performing the Mozart clarinet concerto in next year's
> Eisteddfod here in Alice Springs and as a full orchestra is neither
> available, much less practical would like to know if any arrangements for a
> string quartet are available - 2 violins, viola, cello/bass.
> >I currently have an arrangement for clarinet & piano - Boosey & Hawkes
> 1946 copyright and comparing what is written to a CD I have with Joze
> Ostrac playing the clarinet have noticed some differences in phrasing,
> etc, especially in the Rondo mvt - measure 311 the written begins the
> 16th's beginning with A 2nd space on staff while the performer plays the
> passage an octave lower. I realize the lower is considerably easier to
> manage and wonder if this is done typically by other performers?
> >
> I think I know the part you mean even though it came out to measure 331 in
> my quick count. A descending pasage of a, c, g, c, f, c, e, c, c (octave
> down), c, g, c, etc. It seems to me most clarinet concertos have, at some
> point, a rapid passage in the low chalumeau register, apparently to show
> off the sound of that range and the facility of rapid passagework there.
> This one, I'll wager, Mozart wrote in order to take full advantage of the
> basset range, since that bottom C would be available with the passage taken
> down an octave from what is written in both your and my copies of the part.
> Moving it into the upper chalumeau and across the break not only
> complicates the fingering but, IMHO, destroys the purpose of the phrase.
> Playing it in the lower octave as a, c, g, c, f, c, e, c, f, c, g, etc.,
> while perhaps not note-correct to the original manuscript, stikes me as
> more true to the INTENT of the passage. Besides, it is MUCH CHEAPER than
> buying a basset clarinet!
>
> (Flame proof suit is now ON)
>
>
>
> Bill Hausmann bhausman@-----.com
> 451 Old Orchard Drive http://homepages.go.com/~zoot14/zoot14.html
> Essexville, MI 48732 ICQ UIN 4862265
>
> If you have to mic a saxophone, the rest of the band is too loud.
>
> ---------------------------------------------------------------------
> Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> Subscribe to the Digest: klarinet-digest-subscribe@-----.org
> Additional commands: klarinet-help@-----.org
> Other problems: klarinet-owner@-----.org
>
>

---------------------------------------------------------------------
Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
Subscribe to the Digest: klarinet-digest-subscribe@-----.org
Additional commands: klarinet-help@-----.org
Other problems: klarinet-owner@-----.org

   
     Copyright © Woodwind.Org, Inc. All Rights Reserved    Privacy Policy    Contact charette@woodwind.org