Klarinet Archive - Posting 000006.txt from 2006/01

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Gran Partita (K. 361)
Date: Tue, 03 Jan 2006 15:12:16 -0500

BESIDES ANSWERING YOUR SPECIFIC QUESTIONS, THE SPELLING IF "GRAN
PARTITTA." AND YOU DID NOT ASK ABOUT IMPROVISATIONS IN THE SLOW
MOVEMENT. SO I SAID SOMETHING ANYWAY.

ARE YOU AWARE THAT THERE IS GOING TO BE A GRAN PARTITTA SEMINAR
IN BOSTON IN LATE JUNE. I'M INVITED BUT I HAVE NO IDEA WHAT I'LL
BE DOING.

AND OH YES. THE PLURAL OF EINGANG IS EINGANGE WITH AN UMLAUT OVER
THE A IF YOU HAVE ONE TO SPARE.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Jonathan Cohler [mailto:cohler@-----.com]
Sent: Tuesday, January 03, 2006 11:47 AM
To: klarinet@-----.org
Subject: [kl] Gran Partita (K. 361)

The season is upon us (that is the season of Mozart's 250th
birthday), and I have the great fortune to be performing Mozart's
"Gran Partita" K. 361 (370a) on January 27 at The Longy School of
Music's Pickman Hall as part of a fund-raiser for the Boston
Woodwind
Society.

With that in mind I have some questions for the master, Mr.
Leeson
(and anyone else with knowledge to impart). I have, of course,
purchased and studied the Barenreiter score of the Neuen
Mozart-Ausgabe edited by Herr Leeson and what a great resource it
is!

My questions regard the Eingangs, improvisation, articulation and
trills...

Happy New Year!

--Jonathan Cohler

First movement (Largo; Molto allegro)

1. The hold on the dominant 7th at measure 14. Should clarinet 1
do
an improvised eingang? If not, why not?

ABSOLUTELY!! EVERY EINGANG IN THAT WORK BELONGS TO THE
CLARINETIST. OTHER WORKS, SUCH AS THE C MINOR OCTET, HAVE
EINGANGE FOR OBOE, BUT IN 361, IT'S ALL CLARINET. REMEMBER THAT
THE PERSON WHO PLAYS THE MELODY AFTER THE EINGANG IS OVER, IS THE
ONE WHO PLAYS THE EINGANG. AND IT SHOULD DIFFERENT EVERY TIME.
PLAY IT TWICE THE SAME WAY, AND YOU ARE IN A WORLD OF TROUBLE.

2. The hold on the dominant 7th at measure 222. Should clarinet
1 do
an improvised eingang? If not, why not?

SAME ANSWER

Second and Fourth movements (Menuetto)

3. Should the melodic instruments (mostly Cl 1 and Ob 1)
improvise
and ornament on the repeated sections? If not, why not?

IF THE PERFORMERS ARE WILLING TO RISK IT, ABSOLUTELY. BUT IF ONE
OF THE PLAYERS IS NOT UP TO IMPROVISING, IT LEADS TO PROBLEMS IF
A AND B IMPROVISE BUT C DOES NOT.

**************************************************************

AND WHY HAVE YOU NOT ASKED THIS QUESTION FOR THE GLORIOUS THIRD
MOVEMENT WHERE THE OBOE, CLARINET, AND BASSET HORN SHOULD HAVE A
FIELD DAY, IF THEY CAN MANAGE IT.

**************************************************************

Fifth Movement (Romance)

4. Are measures 16 and 103 eingangs, even though there is no 7th
in
the dominant chord? And if so, do they have to be played as
notated
(was this notated by Mozart?) or should they be improvised as
usual?

THAT EINGANG THAT IS PRESENT IS IN THE SCORE, BUT THE PLAYER WAS
EXPECTED TO IMPROVISE AT EACH OCCURENCE.

5. Does the eingang at measure 87 have to be played as notated or
should it be improvised as usual?

BE BRAVE, BE CONFIDENT. AND DON'T REPEAT YOURSELF.

Sixth Movement (Tema con variazioni)

6. What is your feeling on modifying the articulation for example
in
a repeated passage such as mm. 25 and 26 in the first clarinet
part?

IN THAT MOVEMENT, THE MATERIAL IS SUFFICIENTLY BUSY THAT DOING A
LOT OF IMPROVISATIONS WILL BE GILDING THE LILY. HERE LESS IS
MORE.

Seventh Movement (Finale)

7. What about ornamentation/improvisation on the short repeated
sections?

MOVEMENT MUCH TOO BUSY FOR YOUR ADDITIONS. LEAVE IT ALONE. THE
GENERAL RULE IS, THE SLOWER THE MOVEMENT, THE LESS THE CALL FROM
IMPROVSATIONS.

Trills in general

8. Should they all be done from the top? What are the
exceptions?

MY OPINION, YES FROM THE TOP. BUT YOU WILL FIND OTHERS WHO SAY
NO. THERE IS NO SOLUTION THAT EVERYONE AGREES WITH.

I WILL HAVE SPIES AT THE PERFORMANCE, AND IF YOU PLAY M. 111 IN
THE FIFTH MOVEMENT, WATCH YOUR BACK!!

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