Klarinet Archive - Posting 000216.txt from 2003/02

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] Castelnuovo-Tedesco Question
Date: Sun, 9 Feb 2003 09:08:57 -0500

On Sun, 9 Feb 2003 08:57:14 EST, LeliaLoban@-----.com said:

> If I were in this spot, without time or resources to do exhaustive
> research, I'd follow Tony's advice:
>
> > In a competition, no one can *expect* you to do anything other than
> > what is printed. Since in this case that means you doing what you
> > want to do, there is no dilemma.

Just to add two things.

I wrote to James Gillespie, and he may shed some light on the matter.
(Actually, I asked him, among other things, whether C-T saw Garbarino's
edition. Foolishly, in this case, because as I could easily have
noticed myself, the Ricordi edition was published in 1977, and C-T died
in 1968.)

The other thing is to do with why you might feel that C natural 'works'
better than the C#.

What's uncomfortable about the C# for me is that the return to the B
natural in the bass of the piano is then somehow too consonant, being at
the same pitch two and three octaves below the clarinet, *unless* the
piano right hand at the half bar is slightly emphasised, to tilt the
balance of the chord towards the upper decaying notes and thus increase
its perceived tension. Then, the return to Bb in the bass at the
beginning of the next bar works better.

But the C natural has its own problems, as Stephen pointed out. To get
round those, I'd probably do a very fast diminuendo on it, this time to
*lessen* the tension of the dissonance with the piano.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
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... Logic is the art of going wrong with confidence

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