Klarinet Archive - Posting 000341.txt from 2005/09

From: Thomas Labadorf <labadorft@-----.edu>
Subj: RE: [kl] Mozart Clarinet Concerto Arrangement, for Clarinet
Date: Fri, 30 Sep 2005 10:44:51 -0400

Dan,

You are truly wise and all-knowing. Not only did you have appropriate
comments about the forward as I was thinking when I posted it, but you
didn't take my bate on the "dark tone" issue. Just as well. It certainly
has been addressed enough on this list.

Of course your statement is much more focused and refined that I would have
been able to express, but my first thought on reading this forward was, "why
wouldn't a soloist and ensemble qualified to perform this arrangement be
able to play the entire work?"

I hope some day to perform it, but until then, I can not make any statement
about the quality of the arrangement or if it portrays any musical sense as
the original. If anyone on this list has heard or performed it, a review
would be welcome.

TL

On 9/29/05 5:01 PM, "klarinet-digest-help@-----.org"
<klarinet-digest-help@-----.org> wrote:

> Date: Thu, 29 Sep 2005 06:24:52 -0700
> To: <klarinet@-----.org>
> From: "dnleeson" <dnleeson@-----.net>
> Subject: RE: [kl] Mozart Clarinet Concerto Arrangement, for Clarinet
> Message-ID: <FJEKIMDEOJFJPBKBMDOPKEGCDLAA.dnleeson@-----.net>
>
> My comments, which follow, do not speak of the issue of this
> transcription, only the note in the foreword.
>
> "Each movement if this concerto appears as an individual entity.
> Programing
> of the entire work is very demanding and should be reserved for
> the most
> appropriate situations. The combination of the second and third
> movements
> provide a pleasurable offering, as well as programing the first
> movement
> alone. All three movements are in the same 18th Cedntruy
> Harmoniemusik
> style and utilize the same instrumentation. Movements 1 and 2 are
> transcribed by Robert W. Rumbelow. Movement 3 is transcribed by
> John
> Clanton and edited by Mr. Rumbelow."
>
> I'm not quite sure how to show my contempt for that paragraph.
> It is so wrongheaded and ignorant as to be utterly ridiculous, to
> say nothing of being technically incorrect and meaningless.
>
> First, he meant to say that each movement may be played by
> itself. Instead, he refines the multi-movement concerto form by
> saying that each movement is an individual entity. While the
> movements may be played separately, the unity of the composition
> (or of almost any concerto) is achieved only when all the
> movements are performed; i.e., it is not three separate unrelated
> pieces that are perfrectily servicable when taken out of context,
> but rather one piece in three parts. While any of the movements
> may be played by themselves, that does not redefine the form of a
> multi-movement concerto. The work is an entity when all three
> movements are played in the proper order.
>
> Second, what are the "appropriate situations" for which all three
> movements may be played? I'd like a complete list of them,
> please. Is it appropriate only if all the players are dressed in
> tails or black dresses, though wearing a clown's red nose?
> Exactly what is an inappropriate situation to play all three
> movements? It is a completely bullshit statement, written without
> the slightest idea, meaning, or useful information content.
>
> Third, is it really necessary to define which movements make a
> pleasurable offering? Is the performer too stupid to select what
> he or she wishes to play, but must be told that movements 2 and 3
> are the pleasurable ones? What a thoughtless, meaningless
> suggestion.
>
> Fourth, the writer has no idea what Harmoniemusik is, and it
> completely ahistoric to describe this arrangement's three
> movements as in any way related to Harmoniemusik. He appears to
> think that a Harmonie is any group of wind players.
>
> Bottom line: whoever wrote that note had nothing to say, so he
> made up a lot of meaningless statements in the hopes that it
> would look scholarly and erudite. What it shows to me is that one
> can transcribe a composition from one form to another without
> knowing anythng about music history.
>
> Dan Leeson
> DNLeeson@-----.net

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