Klarinet Archive - Posting 001380.txt from 2000/06

From: Daniel Leeson <leeson0@-----.net>
Subj: [kl] It's a very uninteresting idea/question
Date: Fri, 30 Jun 2000 09:37:50 -0400

Not only is there no evidence that Stadler ever played the concerto on a
basset horn, there is also no evidence that the basset horn in G version
(and even that is too precocious a title) was written for Stadler. It's
logical that it was, but it could very well have been written for David
and Springer, the two basset horn virtuosi who played in Vienna for
several years beginning in 1783 and who are probably the guys for whom
he wrote the basset horn parts for the Gran Partitta.

The idea that the K. 622 could also have been performed by Stadler on a
basset horn is the kind of musical conclusion that falls apart almost
immediately after voicing it. For one thing, K. 622 is in the wrong key
for either a basset horn in G or a basset horn in F. The orchestral
accompaniment for K. 622 is in A major. In order for the concerto to
have been played on a basset horn in G, the accopaniment would have to
have been written in G major. In the case of basset horn in F, the
accompaniment would have to have been in F major. The idea, while
theoretically possible, is so far fetched as to require too many
improbable events for it to have occurred.

The piece that is constantly being referred to as the Winterthur
fragment is so sketchy that it cannot be played in any form. It's got no
instrumentation, and it breaks off after 100 or so measures.

The idea has holes in it.

rgarrett@-----.edu wrote:
>
> At 09:16 PM 06/29/2000 -0700, you wrote:
> >What kind of opinions were you looking for? Something along the lines of
> >"that poster is full of, um, misinformation"? Every statement of fact except
> >the last one (about recordings) in that paragraph is wrong. It wasn't in
> >Pino, it wasn't originally written for basset horn (just a fragmentary rough
> >draft), the basset horn was in G not F, Stadler didn't perform it on both
> >instruments, and it isn't commonly played up a 4th.
> >
> >I _would_ be interested in hearing the concerto played on bass clarinet, just
> >to find out what it sounds like.
> >
> > --Doug
>
> Doug,
>
> I was interested in knowing if others held the same opinion regarding the
> original use of the Concerto - eg. Stadler having played it on a basset
> horn in F, etc.........
>
> Regarding the Concerto played on a bass......hmmmm, that would be
> interesting wouldn't it?
>
> Sincerely,
> Roger Garrett
>
> Roger Garrett
> Professor of Clarinet
> Director, Symphonic Winds
> Advisor, IWU Recording Services
> Illinois Wesleyan University
> School of Music
> Bloomington, IL 61702-2900
> (309) 556-3268
>
> A Clarinetist's Revenge is sometimes personified by the following excerpt
> from the London Daily News, circa 1926:
>
> "The saxophone is a long metal instrument bent at both ends. It is alleged
> to be musical. As regards markings, the creature has a series of tiny taps
> stuck upon it, apparently at random. These taps are very sensitive: when
> touched they cause the instrument to utter miserable sounds suggesting
> untold agony. Sometimes it bursts into tears. At either end there is a
> hole. People, sometimes for no reason at all, blow down the small end of
> the saxophone which then shrieks and moans."
>
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--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

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