Klarinet Archive - Posting 000104.txt from 2005/01

From: Adam Michlin <amichlin@-----.com>
Subj: Re: [kl] Will some kind soul ...
Date: Sat, 8 Jan 2005 20:54:17 -0500

This would have to be the Universal Edition (UE 19086) Pub. 1996, I think.

The relevant portion of the Preface:

---
"Significant new research has brought to light a source covering the entire
concerto: an arrangement for piano quintet by Christian Friedrich Gottlieb
Schwenke (1767-1822), who possessed a manuscript score of the original
basset clarinet version. This arrangement was published some time between
1799 and 1805 by Bohme of Hamburg, and forms the basis of this present
edition. Schwenke, a noted composer, pianist and editor, had more than a
passing interest in the clarinet. One of his sons took up the instrument,
and he was related by marriage to the prominent Hamburg clarinettist Carl
Hartmann. Furthermore, he himself composed a clarinet concerto, as well as
one for piano, clarinet and bassoon. His compositions, along with
manuscripts of many well-known composers, including that of Mozart, were
auctioned in 1824.

Schwenke places the solo clarinet part in the piano and thus, there being
no restrictions as to compass, presents remarkable insight into the
original version. He uses considerable ornamentation, a practice regarded
as de rigeur for performers of that day. Schwenke learned the art of
interpretation at the hands of his teacher. C. Ph. E. Bach, whose post at
Hamburg he inherited. It is not possible to completely eliminate the
possibility that Schwenke revised several passages in order to technically
and tonally accommodate the piano - and especially instruments of that time
- could have prompted him to split sustained tones into a succession of
repeated short ones (1st mvt., m. 81), or trills (1st mvt., mm. 249-250)."
---

The edition contains separate basset clarinet and A clarinet parts, which
is quite nice. Over all, though, I am quite frankly skeptical of the whole
thing. Weston's edition seems rather excessively and specifically
ornamented which leads me to suspect too much input by Schwenke (or perhaps
Weston) and not much more input from Mozart than we already have.

As a researcher, I just find this edition frustrating. As a player, I just
find this edition frustrating. Things would be a little clearer if
Schwenke's edition was readily available to compare (to the best of my
knowledge, it is not), but even Schwenke's edition would appear to be a
guessing game of ornamental, articulation and possibly even registrational
gratuities versus him having had access to Mozart's original manuscript.

Weston does, however, specifically call for an Eingang in the second movement.

-Adam

At 04:42 PM 1/8/2005 -0800, dnleeson wrote:
>Tell me about this edition of K. 622 edited by Pamela Weston that
>is supposed to have been derived from the manuscript in Mozart's
>hand. And if my understanding of this story is screwed up, as I
>suspect, tell me what Weston says about the original of this
>arrangement.

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