Klarinet Archive - Posting 000143.txt from 2005/01

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] RE: Klocker
Date: Tue, 11 Jan 2005 13:43:55 -0500

Blech! Yuk! Phooie!!!

The cadenza doesn't stop anything. It simply transfers the role
of creativity from the composer to the performer. Audiences in
Mozart's time sat there in expectation waiting to hear what
imaginative improvisations on the basic tunes just articulated
would be created. They were often so appreciative, if the
cadenza was particularly imaginative, that they would refuse to
allow the performance to continue. The movement had to be redone
even before the concerto was over. There is a letter from Mozart
attesting to that very event.

And then they expected a completely different cadenza when its
time came.

Sure the soloist has a chance to show off, but not by showing how
fast he could play. It was rather his ability to show off his
improvisational imagination that knocked the audience dead.

You have a narrow, forrupt, and miserly soul, and I will never
allow you to buy me a pizza (unless it is in Chicago at Pizzeria
Uno, at which point I may forget your evil nature in return for a
sausage pizza with pepper flakes on it).

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Tim Roberts [mailto:timr@-----.com]
Sent: Tuesday, January 11, 2005 10:06 AM
To: klarinet@-----.org
Subject: RE: [kl] RE: Klocker

On Mon, 10 Jan 2005 22:12:56 -0800, Adam Michlin
<amichlin@-----.com>
wrote:

>At 12:22 PM 1/10/2005 -0800, dnleeson wrote:
>
>
>>>True. I may have overstated the case. But that still does
not
>>>change the fact that 622 has no cadenzas even if my answer why
>>>not is unstable.
>>
>>
>
>Do you have any other thoughts as to why 622 does not contain a
cadenza?
>
>

In my uneducated opinion, a cadenza interrupts the flow of the
music.
Here you are, cooking along, making great music at a fine rate,
and you
are suddenly forced to slam on the brakes and come to a squealing
halt
on an artificial sequence leading to a chord that doesn't really
belong,
just so the soloist has another chance to show off.

The Mozart K.314 oboe concerto is a prime example. It is a
beautiful
piece of music. I find myself getting carried along by the
interplay,
like a ride in a horse-drawn cab on a beautiful spring day, when
suddenly the cabbie pulls over to the side of the road, stops,
gets out,
and light up a cigarette. It's like inserting a beer commercial
in the
middle of Dances With Wolves.

Have I exceeded my metaphor quota yet?

K.622 flows naturally without any such artificial stoppages. It
is pure
fantasy to speculate, of course, but perhaps Wolfgang simply felt
that
the structure would be lessened by the addition of a cadenza
sequence.

--
- Tim Roberts, timr@-----.com
Providenza & Boekelheide, Inc.

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