Klarinet Archive - Posting 000235.txt from 2004/08
From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] K622
Date: Mon, 9 Aug 2004 13:01:18 -0400
Careful here. You are going to expose yourself to a variety of
people each of whom has a perspective about how to play that
piece. (I'm presuming that at least one of them will be a
clarinet player, and no player/teacher will react positively to a
high school student who gives the impression that only he knows
anything about the piece.)
And what that says is that no matter what you do, someone may be
unhappy about it, even at a subconscious level. There won't be
any overt hostility, but someone hearing it may say, "Where did
he get that idea?"
Two general rules that can help you enormously if you do it
right.
First, play it on an A clarinet even if you play it without
accompaniment. And should that occasion arise, make it a point
to say something about what you are doing to the people listening
to you. Say, "I know I'm playing the piece without
accompaniment, but the character of the piece is defined by A
major and that is the character I want to keep as I play it for
you." And if you are accompanied, DO NOT PERMIT the piece to be
played in concert B-flat which would mandate a B-flat clarinet.
And don't just say those words, learn something about what you
are saying.
Bottom line: if you don't have an A clarinet you might consider
changing the piece that you have decided to play. The version
with A clarinet is published by many houses. Try International.
You may think that this is a really small point, but probably not
to someone on the committee who hears you.
Second, impress the committee even further with your smarts. The
first movement has a small section near its end which many
erroneously call "the cadenza." There is no cadenza in the Mozart
concerto and if you call it that, you show that you are not aware
of this non-trivial matter. You need to find some way to say,
"for the eingang [pronounced EYE-N-GANG] I have chosen to create
my own." It's not really hard to do and if it is more than a
dozen notes you have overdone it. Get a couple of recordings and
listen to what the soloists do at that point. If you are asked
what an "eingang" is, say, "It's German for lead-in and its
purpose is to take the music from the dominant 7th chord to the
tonic." End your eingang on the 2nd or the 7th of the dominant
7th scale. If you do this right, the committee will sit up and
pay attention. Don't use the traditional eingang found in most
editions. It has no authority even though it is a perfectly good
one. Remember: no more that 12 notes. The whole thing is only
10 seconds long, if that much and it is not a pivotal moment in
the performance. What you will be showing is that you know
something about music.
Now none of this is going to do you any good if you play like a
turkey. So your playing must be good. Also, make sure that your
teacher is in agreement with any action you intend to take.
Dan Leeson
DNLeeson@-----.net
-----Original Message-----
From: C.C. Lin [mailto:englishiris@-----.com]
Sent: Monday, August 09, 2004 9:10 AM
To: klarinet@-----.org
Subject: [kl] K622
I've decided to play the 1st movement of the Mozart k622 for my
college
audition. Does anybody have any suggestions about performing it?
C.C.
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