Klarinet Archive - Posting 000140.txt from 2005/01

From: Oliver Seely <oseely@-----.edu>
Subj: [kl] Re: Eingang (was Klocker)
Date: Tue, 11 Jan 2005 11:55:30 -0500

O.K., but before I make up my own Eingang for a performance scheduled for
January 16, I want to make sure we're talking about the unaccompanied
section of the 2nd movement of K.581 starting at measure 49 (maybe it was
said before, but I haven't been following this thread). I don't know if I
have the nerve to do it, but it'll be something to try and to cause heart
failure among the other players during our two dress rehearsals.

Something in a minor key, perhaps? 8-)

Oliver

At 08:24 AM 1/11/2005, you wrote:
>The eingang of the slow movement of the clarinet quintet is the
>most popular choice of an eingang for the slow movement of the
>clarinet concerto. This gives the false impression that this
>practice is authoritative, that it belongs in the concerto, and
>that playing anything else is inappropriate.
>
>An Eingang is supposed to be created on the spot by the
>performer. It doesn't have any of the technical problems
>associated with creating a cadenza, but it should be the
>performer's idea. And if one were to give several performances of
>K. 622, the eingang should change from performance to
>performance. This is antithetical to the practice of most players
>performing the same eingang over and over again as if it were
>wrong to do any other. And when I hear it in almost every
>performance, my face gets all squnched up at the lack of
>imagination demonstrated. Heaven help the play who does it when I
>am reviewing. (And I add that there is no authority for using
>this same eingang even in K. 581 where almost every edition
>includes it as if it were Mozart's intentions. The fact is that
>we have no idea where that eingang comes from.)
>
>So, to answer your question, what is unclear about it is that a
>single eingang is used by so many people as if Mozart himself had
>not only authorized it but had excluded any other eingange.
>
>Dan Leeson
>DNLeeson@-----.net
>
>
>
>
>
>
>
>
>
>-----Original Message-----
>From: Adam Michlin [mailto:amichlin@-----.com]
>Sent: Tuesday, January 11, 2005 7:47 AM
>To: klarinet@-----.org
>Subject: RE: [kl] RE: Klocker
>
>
>At 05:57 AM 1/11/2005 -0800, dnleeson wrote:
> >Well, I am not sure why speculating about his intentions for not
> >request cadenzas would be of value. I speculated on one and was
> >quite incorrect. What is most important is that there are no
> >cadenzas. What is there is something else, and contemporary
> >clarinetists are not comfortable with this 18th century custom
>of
> >improvising a lead in.
>
>I disagree, somewhat, about the value of speculation. It
>certainly allows
>for a discussion which can bring to light factual information. I
>draw the
>line at presenting such speculation as factual information or
>drawing
>further "factual" conclusions based only on the assumption of our
>speculation as fact.
>
>You speculated that the clarinet being monophonic played a role
>in Mozart's
>choice not to include a cadenza in K.622. We now know that is not
>the case,
>but we've also furthered our collective understanding of how
>K.622 fits
>into Mozart's concept of the concerto. Not such a bad thing, in
>the end.
>
>As for being wrong, I'm just shocked and dismayed that you aren't
>perfect
>=). Would that I could have your track record for accurate
>factual information!
>
> >It has come to the point of using the Eingang for K. 581 in the
> >absence of any good ideas of what else to do. While the idea is
> >not a bad one, it is an overworked solution to the problem.
>
>I have not spent any significant time analyzing K.581, so I am
>curious as
>to what is unclear about it.
>
> -Adam
>
>
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