Klarinet Archive - Posting 000650.txt from 2004/01

From: "John P. Varineau" <jvarineau@-----.com>
Subj: Re: [kl] [clarinet] Articulation for the END OF TIME
Date: Tue, 20 Jan 2004 21:47:40 -0500

Thanks to Tony for his usual very cogent remarks!

>>To my mind, this problem is simplified by accepting that different
markings
in different parts need not be thought of as 'discrepancies'. For
example,
Stravinsky quite often creates clarity in a legato line by writing
staccato
in another, unison part. The result of mixing the sounds of two players
obeying two different notations is what he wants. An extension of this
notion can apply here.

The phenomenon goes much farther back, of course. Mozart, for example,
very
often writes different slurs in different parts. It's highly naive to
attempt to rationalise *his* slurs>>

The above two paragraphs succintly capture exaclty what I'm grappling
with. When are "discrepancies" discrepancies, and when are they
intentional? The problem comes in discerning which composers were
careful enough in the editing process and which were not, and finding the
information to know.

Hence my posting.

As I wrote in that post:

>"The articulations in Fouillis
> d'arcs-en-ciel are virtually 100% consistent, making the
inconsistencies
> in the other movements even more troublesome.

So, Tony I would appreciate you pointing me in the right direction so
that I can investigate, in your words "the obvious care with which the
edition was produced."

Thanks, everybody.

John Varineau
Associate Conductor, Grand Rapids Symphony
Conductor, Grand Rapids Youth Symphony

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