Klarinet Archive - Posting 000355.txt from 2000/07

From: Keith <100012.1302@-----.com>
Subj: [kl] klarinet Digest 8 Jul 2000 08:15:00 -0000 Issue 2387
Date: Sat, 8 Jul 2000 11:30:26 -0400

Message text written by INTERNET:klarinet@-----.org
>From: Dan Leeson <leeson0@-----.net>
Subject: Re: [kl] klarinet Digest 7 Jul 2000 08:15:00 -0000 Issue 2384
Message-ID: <3965DF1F.7F2AF3FF@-----.net>

Keith, there is no single date where the practice of playing senza replic=
he
began but the entire question of how we play minuets and trios today
changes
about every 50 years or so. I played the clarinetet quintet many years a=
go
with
a man who played with Brahms as a very young player and he said that they=

never
played any repeats in minuets and trios, not even the ones marked.

Why this happened was, in my opinion, because the art of improvisation fe=
ll
into
disfavour. The reason why all those repeats are present is to encourage
improvisation. But if one does not improvise, then the unaltered
repetitions of
those sections becomes boring. So that was the first step in the changin=
g
of
performance practice with respect to the playing of minuets and trios.

Dan Leeson
<

Thank you, Dan. Most interesting.

So, people SHOULD leave out those boring repeats if they can't improvise!=

I'm a bit puzzled though, by the number of repeats, if the repeat in the
"da capo"
is the only time you are allowed to improvise - that means we have to pla=
y
the minuet
sections three times before we get to the fun bit. Or have I misinterpret=
ed
your
earlier post?

Keith Bowen

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