Klarinet Archive - Posting 000832.txt from 2000/07

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Weber Concerto derived from Mozart?
Date: Mon, 24 Jul 2000 04:52:21 -0400

Traduttore traditore....
La traduzione @-----.

To be more specific, it's good English badly arranged.
Roger S.

On Sun, 23 Jul 2000, Andrea Bergamin wrote:

> Date: Sun, 23 Jul 2000 02:04:56 +0200
> From: Andrea Bergamin <a.bergamin@-----.it>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] Weber Concerto derived from Mozart?
>=20
> Andrea is a male name in Italy. Etymologically speaking it means somethin=
g
> like "macho man" so... it isn't cut out for a girl!
> So... I'm male.
>=20
>=20
> EXPERIMENT... I'll write the text in Italian with an automatic translatio=
n
> (I hope it will work!). It is so difficult for me to write correctly in
> English and I hope someone could understand me in Italian. ...
> Italian is a nice language... I hope you will enjoy it (as Mozart did!!!)=
=2E
>=20
> > Come compositore, prima ancora che da clarinettista ho fatto qualche
> > osservazione tecnica sulla scrittura della parte del clarinetto nei due
> > concerti. Proprio dall'osservazione delle due parti =E8 evidente come M=
ozart
> > utilizzi lo strumento ancora nel modo tipico dei primi concerti per ese=
mpio
> > degli Stamitz. La cellula tematica viene spesso riproposta nei vari reg=
istri e
> > da questo si deduce che certamente all'epoca (e quindi in Stadler) il s=
uono
> > del clarinetto non era omogeneo come @-----.
> >=20
> > Poi... lo strumento di Stadler aveva una meccanica molto meno sviluppat=
a e
> > questo impediva, per esempio, di ottenere scale cromatiche in rapidit=
=E0 e
> > passaggi veloci in tonalit@-----. In questo senso la s=
crittura
> > @-----.
> >=20
> > ---
> >=20
> > Io non volevo esprimere un giudizio su Mozart o su Weber. Semplicemente=
il 622
> > nasce con esigenze diverse rispetto ai due concerti di Weber.
> > Altri concerti di Mozart (quelli per violino o per flauto) sono certame=
nte pi=F9
> > "rilassati" e risulta pi=F9 chiara la finalit=E0, principalmente di "mu=
sica di
> > consumo". Questo non @-----.
> >=20
> > In Weber la platealit=E0 =E8 un elemento determinante perch=E9 =E8 nell=
o stile
> > dell'epoca. Weber =E8 molto meno contenuto di Mozart (del Mozart del 62=
2) e usa
> > certi effetti, presi dall'opera, che Mozart non usa.
> >=20
> > Nessun giudizio qualitativo...solo delle considerazioni stilistiche, og=
gettive
> > questa volta.
>=20
> Like composer, before still that from clarinetist I have made some techni=
cal
> observation on the writing of the part of the clarinet in the two concert=
s.
> Just from the observation of the two parts it is obvious as Mozart still
> uses the instrument in the typical way of the first concerts as an exampl=
e
> of the Stamitz. The thematic cell often comes in several registries and
> from this, the sound of the clarinet is deduced sure that to the age (and
> therefore in Stadler) was not homogenous as it is currently. Then... the
> instrument of Stadler had one mechanical much less developed and this
> prevented, as an example, to obtain chromatic scales in rapidity and fast
> passages in far tonalities much from I GIVE. In so far as the writing is
> less modern.---I did not want to express a judgment on Mozart or Weber.
> Simply the622 are born with various requirements regarding the two concer=
ts
> of Weber. Other concerts of Mozart (those for violin or flute) suremore =
"
> are relaxed " and turn out clearer the purpose, mainly of "consumption mu=
sic
> ". This is not therefore clear in the 622.In Weber the flauntiness is a
> determining element because it is in the style of the age. Weber much le=
ss
> is contained than Mozart (of the Mozart of the 622) and uses sure effects=
,
> taken from the work, than Mozart she does not use. No qualitative
> judgment... only of the stylistic, objective considerations this time.
>=20
>=20
>=20
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>=20
>=20

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