Klarinet Archive - Posting 000015.txt from 2005/02
From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] K388
Date: Tue, 1 Feb 2005 18:25:00 -0500
There are two places to get it. In Berlin where the original is
(along with the original of 375 in both sextet and octet), and
probably from Salzburg who have microfilms of all the Mozart
manuscripts. There's a third place, too, now that I think about
it. There is an archive in the Photogramm Archives of the
Austrian State Library that has microfilms made of everything
that was in Berlin in 1935.
Dan Leeson
DNLeeson@-----.net
-----Original Message-----
From: Tony Pay [mailto:tony.p@-----.org]
Sent: Tuesday, February 01, 2005 2:57 PM
To: klarinet@-----.org
Subject: Re: [kl] K388
On 1 Feb, "colin.touchin@-----.com"
<colin.touchin@-----.com> wrote:
> ...The Camden score does give I.32 Clt 2 written Ab half-note
to G written
> half, tied to same whole note in 33. As all other parts hold
two whole
> notes in the previous two-bar phrase, I find this one-part-only
one-note
> drop unconvincing, just as Dan points to the logic of all parts
moving by
> step in the 3rd movement query I raised.
Well, 'all parts moving by step' is hardly a knock-down argument
in this
case. What the second clarinet movement to G (sounding F) does
in this case
is to present the two chords based around the tritone D#/A,
namely B7 and F7,
simultaneously and dissonantly. (The progression without that is
an
uncomplicated example of what jazz musicians call 'tritone
substitution'.)
And I'd say the tension created by presenting the two chords
together is very
effective, whoever wrote it. That's a much deeper sort of
'convincing'.
> The Camden score is by Andrew Skirrow. He alters Ob 1 I.170 to
read
> whole-note instead of more likely half-note, too...
I can find a musical justification for this, and even see why
Skirrow wrote
it, if he did; though, like the previous example, I don't think
it should be
presented in a scholarly edition without evidence that *Mozart*
wrote it.
> ....and seems inconsistent in editorially advised or presumed
slurring and
> articulations, differing often from Baerenreiter, claiming
authenticity.
> In the printed brief intro. it states "The works in this series
were
> prepared from the composer's manuscript and have been edited
only very
> slightly. ... Where there is any doubt, the marks (or lack of
them) have
> been left exactly as in the manuscript and it is left to the
performers to
> do as they see fit."
Obviously, that's not good enough if he's altered what is in the
manuscript
as radically as the two examples above. But neither I nor you
have the MS in
front of us, and Dan doesn't have his.
Where can we get it, Dan? Is there more than one source?
> Incidentally, Dan, I regret to report what looks like another
typo in the
> Baerenreiter score, again Clt 1, I.178 4th eighth note - A not
G.
Yup.
Tony
--
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