Klarinet Archive - Posting 000296.txt from 2001/04

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] On the matter of editing and other things
Date: Sat, 14 Apr 2001 20:20:25 -0400

Anne, I am not in any position to disapprove of anything. I was
speaking to the matter of what the role of an editor is in producing a
useful edition, and it may have come out that I am sitting here like
some theological authority describing what you may and/or may not
believe. You and your students have to do whatever they can do and with
whatever resources are available to them.

While I object that Bellison put that measure into the second movement,
my objection is limited to the fact that he has not distinguished his
invention (for whatever valid purpose he had in mind) from Mozart's
work. It's true that we don't know what Mozart wrote there because we
have no manuscript for authority, but he simply went too far.

If a teacher provides that same information to a student who is having a
problem with the rhythm of that slow movement, I can understand and am
even sympathetic to that, because it is a one-on-one decision.

As for an A clarinet, I never owned one until I was 18. Instead I
played along with Kell's recording when I was 15 and I put heavy rocks
on the turntable to slow it down to some vague place where I was able to
approximate the pitch.

But all of this kind of behavior results in an "I can do anything"
attitude with respect to this kind of music. Somewhere, in our desire
to do good and right, we have zigged when we should have zagged. And
performances of K. 581 and 626 by students shows how modest our
accomplishments have been about the rules of this sort of thing.

There was once a young woman on this list who insisted that, as a
liberated woman, she had every right to play Mozart in any way she
wanted, and for me or anyone else to argue was simply sexism.

Go figure.

Anne Lenoir wrote:
>
> Dan, do you disapprove of young students learning the 2nd movement of
> the Mozart K 622 on Bb clarinet? I have to spend a lot of time with my
> students teaching them how to prepare for the tempo of the first
> measure. It's not as easy as you would think. I have found the one-bar
> of "preparation" accompaniment to be most helpful to young students,
> even though it's obviously not what Mozart intended. Do you think that
> students should not learn the piece until they can afford an A clarinet?
> What about playing it with piano accompaniment instead of chamber
> orchestra? I personally have NOT been invited to perform anything with
> an orchestra for my entire career, except for one summer at Red Fox
> Music Camp back in 1967. I can barely remember back that far. ANNIE
>
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--
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** Dan Leeson **
** leeson0@-----.net **
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