Klarinet Archive - Posting 001401.txt from 2000/06

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] It's a very uninteresting idea/question
Date: Fri, 30 Jun 2000 18:35:23 -0400

I'm not down on it Tony. I just don't see having a basset horn in G
line for 100 or so measures as anything other than historical and
musicological interest. I know how those measures go from the clarinet
version which I presume represents the now lost autograph. Certainly I
don't have any evidence or reason not to think that. So what do those
measures for basset horn in G teach me that I don't already know?

I admit that it might be exciting for a student to read the solo part
from those very pages, but that act is not revalatory in that, were s/he
to do that, neither of us would know any more than we know now.

Just a few weeks ago I was examining a Mozart autograph in Stanford
University. It's a sketch of an aria that Mozart later fully completed
in a different manuscript, now located in Berlin. Well seeing the
Stanford version of it is interesting of course, but there's nothing
there that impacts my conception of the piece as he finally did fully
realize it.

Tony Pay wrote:
>
> On Fri, 30 Jun 2000 06:37:50 -0700, leeson0@-----.net said:
>
> > 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.
>
> Oh, come on Dan, you keep saying this. Of course I agree with the rest
> of your post, and of course the fragment is very incomplete, and without
> the printed editions of K622 would be unplayable.
>
> Nevertheless, the solo line *is* complete, as far as it goes, and it
> allows a player to play a substantial chunk of the first movement of
> K622 from Mozart's manuscript, as did someone in my class this
> afternoon. This is because the first edition differs so little from the
> fragment, apart from the basset notes.
>
> To be able to do that is very exciting for a young player who's only
> seen, well, at worst, Pamela Weston's effort, but at best only NMA.
>
> There's also the switch towards the end, where the accompaniment starts
> to be in A major. There's another exciting moment! You should see
> their eyes light up.
>
> I can't work out why you seem to be so down on it.
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
> .... If we left the bones out it wouldn't be crunchy.
>
> ---------------------------------------------------------------------
> 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

--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

---------------------------------------------------------------------
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