Klarinet Archive - Posting 000851.txt from 2004/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Mozart, Don Giovanni, and Tony Pay - but mostly Stadler
Date: Thu, 28 Oct 2004 10:37:24 -0400

The Riga engraving is presumably based on a combination of sketch and memory.
If the artist was no clarinettist and had a bad view, maybe a support of some
kind was simply missed. (This could apply to other features of the final
picture, of course).
Roger S.

In message <E1CNB5b-0005BY-CD@-----.org writes:
>
> Tony
>
> There is (at least) one other concerto written for the basset clarinet (or
> clarinet with a few extra notes..), by Sussmayr. It is a completion,
> recently published (I don't have the copy to hand as I am out of the
> country). But Sussmayr is the last person to object to completions, isn't
> he?
>
> Re supporting the instrument. As I recollect, the engraving of Stadler at
> Riga shows him just holding it without support. Dan? I could not do this
> with my modern basset clarinet; the wood is heavier and the the keywork much
> heavier. I use a sling with a chest support.
>
> Keith Bowen
>
>
>
>
> -----Original Message-----
> > From: tony-w@-----.uk [<A
> HREF="/Europe/Bin/Mail/Features/Compose/compose.jsptony%2dw@tiscali%2eco%2eu
> k"
> > TARGET="_blank" >tony-w@-----.uk</a>]
> > Sent: Wednesday, October 27, 2004 10:48 AM
> > To: klarinet@-----.org
> > Subject: Re: [kl] Mozart, Don Giovanni, and Tony Pay
> >
> >
> <snip>
>
> > If the *bassett* came first, then where is the bassett`s other music,
> > the repertoire, for this instrument? Stadler must have invested some
> > pennies into it`s design and manufacture. He would have wanted more
> > than just one piece of music to help him recoup his investment. He was
> > after all a skin-flint - he didn`t pay Mozart for the concerto.
>
>
> > Tony W.
> >
> >
>
>
>
>
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>

--
Todo pasa y todo queda,
pero lo nuestro es pasar,
pasar haciendo caminos,
caminos sobre la mar. -- A. Machado.

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