Klarinet Archive - Posting 000667.txt from 2000/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] And while we are at it ...
Date: Thu, 12 Oct 2000 10:40:37 -0400

I think Tausch wrote high Gs -- but Stadler's instruments were different.
Roger S.

On Thu, 12 Oct 2000, Neil Leupold wrote:

> Date: Thu, 12 Oct 2000 06:21:27 -0700 (PDT)
> From: Neil Leupold <leupold_1@-----.com>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] And while we are at it ...
>
> --- Daniel Leeson <leeson0@-----.net> wrote:
>
> > So I ask the question: what is the defense for the use of high G in K.
> > 622? In the absence of any autograph material in which that note is
> > found, I suggest that we have no business playing that note, and its
> > presence in any performance of K. 622 is contraindicated. The
> > probability is very much on my side that Mozart never wrote it!
>
> ...And if somebody hits a G over the course of an improvisational
> flight of fancy within the Mozart, per your repeated proclamations
> that improvisation in the Classical period was more commonplace
> than is reflected in modern performance? What then? Mozart may
> indeed never have written notes that high on the instrument. Were
> those notes not *possible* for the clarinet in the mid- and late
> 1700's? If they were, then it seems that it would be possible --
> and justified -- to hear an improvisation or two that actually uses
> them. The only apparent contraindication, if what I'm implying above
> rings true ('could be completely off base), would seem to be the press-
> ure of social conformity, i.e.; even if the notes were playable in
> Mozart's day, they were not frequently used or heard and, hence,
> most players avoided them in an effort to not rock the boat.
>
> -- Neil
>
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