Klarinet Archive - Posting 000636.txt from 2004/08

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Internal evidence
Date: Sun, 22 Aug 2004 14:44:00 -0400

Then we have no disagreement. You suggest that you sometimes
decorate that very part in the recap. That's fine with me,
though it does not preclude inventing something the first time it
is heard. I think underlying your possible concerns is the not
unreasonable view that what Mozart wrote should be given an
opportunity to be heard in its natural state before one creates
an invention on that very idea. That's OK with me too. Each to
their own taste said the old lady as she kissed the cow.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Tony Pay [mailto:tony.p@-----.org]
Sent: Sunday, August 22, 2004 11:15 AM
To: klarinet@-----.org
Subject: RE: [kl] Internal evidence

On 19 Aug, "dnleeson" <dnleeson@-----.net> wrote:

> Look at the third measure of the concerto (solo part). There
you have a
> simple figure for the first half of the measure, and it is
repeated in the
> last half of the measure.
>
> To play the last half unchanged from the first half is a wasted
> opportunity.

I sort of disagree that it's a wasted opportunity here, because I
think it
has a function. The first two bars are already constitute a
falling third
(first bar) that is decorated (second bar) by Mozart himself.
Therefore the
third bar -- which, incidentally is another example of the period
halving I
mentioned in the discussion of K581 -- serves to expose the
underlying
structure of 'falling thirds'.

I do sometimes decorate that bit when it occurs in the
recapitulation,
though.

Incidentally, not everyone notices that bars 49-52 contain two
instances of
the 'stripped down' underlying structure of what appears in the
violin part
in bars 20-22. This is an example of how Mozart gives his works
thematic
unity -- in his case, perhaps an at least partly unconscious
process.

...By the way, Rheingold went possibly even better in
Baden-Baden -- what a
wonderful hall, too. Now *there's* a piece that speaks to the
interface
between conscious and unconscious.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd tony.p@-----.org
| |ay Oxford OX2 6RE
http://classicalplus.gmn.com/artists
tel/fax 01865 553339

... If God dropped acid, would he see people?

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