Klarinet Archive - Posting 000466.txt from 2004/08

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Source for K. 581 (was K. 581 performance practice)
Date: Mon, 16 Aug 2004 09:19:12 -0400

David's comments about the Symphonie Concertante, K. 297B are
interesting for the following reason. When a manuscript (in the
hand of a professional copyist) was found ca. 1875, players and
scholars went crazy falling over themselves as to how this work
HAD TO BE the one Mozart wrote for Paris in 1778 and which had
been lost. Not one single voice was raised that said, "Wait a
minute. The instrumentation is wrong, the architecture is
insane, and the clarinet part is completely inconsistent with
every other work for clarinet that Mozart ever wrote." It was
not until the 1930s that one small voice in England (Donald
Tovey) said, "The man who wrote that work could not compose."

Now, David's comment about the work authenticity represent the
opinions of a lot of people, which is a 180 degree turn around
from earlier when people took their music just as seriously as we
do today.

All of this goes to show you that when you don't have a
manuscript and there is no documentation about what it is you are
listening to, statements about who wrote it can come back to bite
you on the ass. In Salzburg, whenever the matter of the
authenticity of K. 297B comes up, you can bet that there will be
a minumum of 3 fistfight, 1 eye gouging, a couple of nose
bitings, and two formerly-friendly scholars will stop speaking to
each other for 5 years.

One other thing David: THERE IS NO CADENZA IN THE MOZART
CONCERTO. THERE NEVER WAS. THERE NEVER WILL BE. I am confident
that what you played in the slow movement of the concerto was
beautifully ornamented, but whatever it was, it could NOT have
come "after the cadenza."

Want to bet a pizza on it??

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: duffyl@-----.ca]
Sent: Tuesday, August 17, 2004 4:51 AM
To: klarinet@-----.org
Subject: Re: [kl] Source for K. 581 (was K. 581 performance
practice)

I believe the Sinfonia Concertante K297 for 'Winds" is another
piece that
has been credited to Mozart but is alas under doubt as to whether
or not it
is Mozart...as to how much of this occurs in the Mozart Lexicon
of completed
works I have no idea...but at the same time it is understandable.
There was
just simply alot of music being composed in the era Mozart lived
some what
we may consider great and some not so great...but there is alot
of fine
stuff too.

We don't hear nearly enough about how fine Haydn is and even his
brother
Michael who wrote some stupendous music too. CPE Bach is
tremedous and a
very important composer who acts as a bridge from the Baroque to
the
Classical era.

IN TERMS of performance practice the idea of improvising a given
strain is a
very enlightened approach...I would even think in the classical
era with
it's emphasis on brilliance and florid playing (epecially in
Variation form)
the approach of adding or embellishing the music on the second
time through
or toward the end of the Development section is not only
acceptable but fun.

Recently I did the Slow music from the Concerto in Concert and
after the
Cadenza I change into a more ornamented style.

Its alot of fun...

David Dow
Symphony NB

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