Klarinet Archive - Posting 000053.txt from 2005/02

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] K388
Date: Thu, 3 Feb 2005 14:52:21 -0500

I presume that you are aware that the autograph of 388 is missing
the final 30 or so measures of music, estimated to be two
surfaces of a leaf. For that I used the corresponding final
measures of the string quintet, transcribing them for wind octet.
And the most sifnificant difference between my edition and the
previous ones is that the previous versions the final chord with
out a third.

The third is heard, of course, as an overtone of the c-g fifth,
but that was not good enough for me. The third is explicitly
present in the string quintet arrangement and, becasue of that, I
put it into the wind octet, too.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Tony Pay [mailto:tony.p@-----.org]
Sent: Thursday, February 03, 2005 11:19 AM
To: klarinet@-----.org
Subject: Re: [kl] K388

On 3 Feb, "colin.touchin@-----.com"
<colin.touchin@-----.com> wrote:

> Hi again - Tony's keenness on that 2nd clt Ab to G is
infectious!

It's not that I'm keen on it, quite, though that's a part of what
I feel;
why I'm going on about it is rather that I'm amazed it's there in
the Camden
edition, that I suspect that it's only there because Andrew
Skirrow fancied
it (because it's musically really quite effective and
plausible) -- and
finally, I want to make quite sure that it has no historical
justification.

> ...[if] the Ab fell to G then went back to Ab (not printed in
Camden), then
> we'd ask why should that one part make that (type of) move,
when the
> previous two bars relied on a dynamic drop more than a harmonic
bend on a
> held 2-bar chord for their effect?

I suppose if I were trying to justify it by a musical argument,
my answer
would be what I said about the function of the chord [Cb Eb F
Bbb], a
superposition of Cb7 and F7. That chord, certainly part of
Mozart's harmonic
vocabulary (so it doesn't jar in this context) winds up the
vertical tension
even further, and in a plausible way after the already slightly
shocking Cb7.
I'd say the downward slip of the second clarinet doesn't need to
correspond
to what all the other parts do. Not all musical logic is
contrapuntal logic,
after all -- some of it is harmonic logic, some rhythmic logic.

There's another thing: the third occurrence of a musical pattern
often
contains an added element, or twist, on the previous two. (This
would count
as a double-twist!)

> Having found this semitone drop and liking its momentary effect
is good (if
> Mozart did write it!) but I'm thinking the straight 2-bar
unchanging note
> in all parts is the more likely.

Oh yes, I don't really doubt that. I'm sure the manuscript will
be found to
contain what Dan put in the Baerenreiter, and to correspond to
what is in the
string quintet version. The Camden edition, after all, leaves
unsolved the
problem of the dissonance between the first oboe Gb and the
clarinet concert
F in the middle of 34, which I'd say is really wrong, musically.
Anything
that does that must have come from another source than Mozart.

But where? Do you think Andrew Skirrow will tell us?

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd tony.p@-----.org
| |ay Oxford OX2 6RE
http://classicalplus.gmn.com/artists
tel/fax 01865 553339

... Documentation is for people who can't read.

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