Klarinet Archive - Posting 001022.txt from 2001/02

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] Landler of Mozart
Date: Mon, 26 Feb 2001 18:05:11 -0500

Very interesting note. In Kell's case we are speaking about his
remarkable ability to play rubato extremely effectively. But he also
took great care never to change the tempo itself. That is, he might
very well alter the tempo of HIS part, but the string quartet drove
along without change. So Kell would rob time at the beginning of the
measure and then give it back by the end of the measure, and everything
worked out fine.

What I don't think works well at all is when ALL the players decide to
do a rubato at the same moment and, in fact, I think that this is very
damaging to the overall tempo.

So what Kell did was exactly the way Mozart described his on rubato
playing. He told his father that, while he might change the tempo in
one hand, the other one drove on unmercifully.

I am also not yet convinced that the Landler of which we are speaking
(the 2nd trio of the minuet of K. 581) has to have this done for every
performance; i.e., is this rubato playing a function of the player's
personality or is it a function of the Landler itself?

Tony Pay wrote:
>
> On Mon, 26 Feb 2001 12:40:25 -0800, leeson0@-----.net said:
>
> > Performance practice second: whenever I hear that trio played as if it
> > were a landler, it seems to me that the characteristic I hear most
> > often is that the player stretches the measures out with slow pickups
> > leading to fast parts. Specifically beat 3 is played slowly and beats
> > 1 and 2 of the following measure played more raplidly.
> >
> > As a dance form, I am particularly concerned by a movement played with
> > changes of tempo occurring so frequently within the movement. It
> > seems to me that it would drive the dancers crazy.
> >
> > If, as has been suggested, the Landler turned into the waltz, how many
> > waltzing couples do you see changing the tempo from measure to
> > measure?
>
> I'm not quite sure whether the second paragraph you write above fits in,
> but I certainly think that what you describe in your first paragraph is
> very much what happens in a waltz. The energy is in the step, and the
> suspension at the end of the bar.
>
> And also, I think that works very well in classical music: namely,
> energy at the beginning of a bar/phrase, relaxation towards the end.
>
> I was very interested to hear Kell's performances of Mozart, which I
> hadn't heard for many years. (I remember that we both played along with
> them when young:-) He often does the opposite: namely, pausing on the
> fist beat, and then accelerating towards the end of the bar.
>
> I now find this disturbing, because it's physically counterintuitive.
> And, also, contra what you do when dancing.
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN artist: http://www.gmn.com
> tel/fax 01865 553339
>
> .... I am what I am and that's all that I am
>
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--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

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