Klarinet Archive - Posting 000109.txt from 2005/01

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] RE: Klocker
Date: Sun, 9 Jan 2005 08:40:14 -0500

Responses to the questions are contained in the paragraphs.

Dan Leeson

-----Original Message-----
From: Adam Michlin [mailto:amichlin@-----.com]
Sent: Saturday, January 08, 2005 8:23 PM
To: klarinet@-----.org
Subject: RE: [kl] RE: Klocker

Perhaps I'm mistakenly assuming the existence of a tonic chord in
second inversion with a fermata in a classical era concerto is an
indication that a cadenza may be inserted by the performer. I am
also assuming the composer need not explicitly state "cadenza" in
such circumstances. [LEESON: This is a correct interpretation of
the situation.], 11 measures before the end of the K. 191, for
example.

Is Rampal wrong to include a cadenza in his editions of the flute
concerti? If he is wrong, what is correct? To play the piece as
written without additions? [LEESON: I do not have access to the
Rampal edition of the flute concerti and have no idea what he
did. Sorry.]

Also, when you say there is no cadenza for the bassoon concerto,
are you stating the fact that Mozart didn't compose one (which I
am clear about) or that Mozart didn't indicate to the performer
to provide one (which I am unclear about)? [LEESON: In the
bassoon concerto, no cadenza is requested, and by that I mean
that the devices used to request one are not present.]

I hope my question is clearer, but fear it is even more confused.
Sorry,

-Adam

The composer indicated to the performer that a cadenza was to be
played at a particular point simply by having the right chord and
a fermata. That alone was invitation. Today's contemporary
editions add the word 'CADENZA' perhaps because it is felt that
the 18th century devices were not clear enough.

But 18th century players knew exactly what was being requested of
them when the cadenza clues were set in place.

Dan

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