Klarinet Archive - Posting 000172.txt from 2003/04

From: "Rebecca Brennan" <rjbrennan1221@-----.com>
Subj: Re: [kl] The wrong Rossini -- revisited!
Date: Sat, 26 Apr 2003 00:31:49 -0400

I think in the future we could eliminate these problems by listing the OP.
#'s! It seems many of us and people we know have had the same problems with
playing the wrong piece. I may be young and stupid, but I think I have a
good idea.

-Rebecca

>From: "Michael Bryant" <michael@-----.uk>
>Reply-To: klarinet@-----.org
>To: <klarinet@-----.org>
>Subject: Re: [kl] The wrong Rossini -- revisited!
>Date: Sun, 6 Apr 2003 09:31:11 +0100
>
>The wrong Kozeluh! When Emma Johnson recorded the Concertos by
>Crusell Op 1, Krommer Op 36 and Leopold Kozeluh in 1991 it was
>discovered at the recording session that the orchestral librarian had
>obtained the parts and score of another Concerto by Kozeluh in the
>same key of E flat. The librarian called me urgently to try to sort it out.
>Emma actually found her copy of the Hungarian edition on a visit to
>Prague (1988), - Editio Musica Budapest GM 264 (1975) edited
>by the clarinettist Gyorgy Balassa. Jiri Kratochvil in Prague has
>edited another Concerto by Jan Evangelista Antonin (?) Kozeluh
>in a pre-Supraphon edition in 1964 (also Supraphon, Musica Viva
>Historica 14 (1981) and S 3888 (1989)). So there were two Kozeluhs!
>The forenames of Kozeluh on Kratochvil's manuscript are evidently
>not given or doubtful. Leopold's dates are 1747-1818 and Jan or
>Johann's dates are 1738-1814. They were cousins and shared the
>same birthplace. To make matters worse Leopold was baptized
>Jan Antonin and changed his name to Leopold in about 1773 to
>distinguish himself from the other Jan Antonin. Emma recorded
>the better one, with parts from Budapest. Another cautionary tale?
>
>MB
>
>Tony Pay wrote on Friday, April 04, 2003 8:44 PM
>Subject: [kl] The wrong Rossini -- revisited!
>
>
> > The day before yesterday afternoon, around half past three, I got a
> > phone call. It was from Julian Bliss, the young English clarinet
> > player, who is by way of being a pal of mine.
> >
> > "Tony," he said, "I'm in a bit of a difficulty. I'm at the rehearsal of
> > a concert, and I have to play the Rossini 'Introduction Theme and
> > Variations'. Only -- the orchestra has the *other* piece! And we can't
> > find out where to get the parts of *my* piece. And, they're rehearsing
> > other things at the moment, but we have to stop at five."
> >
> > (Some of you may remember that I found myself in the same situation some
> > thirty-two years ago, in the Festival Hall with the RPO, because I
> > posted about it a couple of weeks ago.)
> >
> > So, I said, "It's Sikorski, and I think that's Boosey and Hawkes." But
> > apparently Boosey and Hawkes hadn't know anything about it when the
> > orchestra management phoned them.
> >
> > Anyhow, to cut a long story short, we found it in Norwich, via two
> > independent routes: the orchestra via Sikorski in Hamburg, and me via
> > the BBC music library and then a wonderfully helpful chap at Boosey and
> > Hawkes hire library; and they faxed the parts, though not the score, to
> > the orchestra at the London Guildhall. Jurij Bashmet had to conduct
> > from the piano score, and they managed somehow.
> >
> > I don't know who was the luckier. I didn't get to play the piece, it
> > being in the pre-fax era; but on the other hand they rescheduled it for
> > a couple of months later, and I did it properly then.
> >
> > Julian got to play it, thanks to modern technology, but not under ideal
> > circumstances by any means. "It was a bit of a nightmare!" he said.
> > But he's a professional, in the best sense, so he didn't let anyone
> > down, and did the job, and helped the orchestra stay with him too.
> >
> > The moral of the story?
> >
> > Beware the Rossini 'INTRODUCTION, Theme and Variations'!
> >
> > Tony
> > --
> > _________ Tony Pay
> > |ony:-) 79 Southmoor Rd Tony@-----.uk
> > | |ay Oxford OX2 6RE
>http://classicalplus.gmn.com/artists
> > tel/fax 01865 553339
> >
> > ... Old age is better than the alternative.
> >
> > ---------------------------------------------------------------------
> >
> >
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