Klarinet Archive - Posting 000008.txt from 2006/01

From: Jonathan Cohler <cohler@-----.com>
Subj: RE: [kl] Gran Partita (K. 361)
Date: Tue, 03 Jan 2006 15:57:06 -0500

Thanks, Dan, for the quick answers and marching orders! Duly noted.

They raise a couple follow-on questions...

>BESIDES ANSWERING YOUR SPECIFIC QUESTIONS, THE SPELLING IF "GRAN
>PARTITTA."

In the Preface to the score by Neal Zaslaw, he notes that the score
had "Gran Partitta" written on it in someone other than Mozart's
hand. But he notes that it is a misspelling by marking "[sic!]" and
on the cover of the score it is spelled "Gran Partita". So which is
it?

>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.

No, when is it? I run the International Woodwind Festival
(http://iwwf.org) at the beginning of June (May 30 to June 11) at The
Boston Conservatory, so it would be great if that is happening at the
same time. There is also a Gran Partita event happening at NEC on
February 28 as well.

>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.

Agreed. In quickly glancing through the score, I didn't see any
repeats, but obviously the same applies to the written-out repeated
material.

>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.

Great, that was my understanding. So is it still an eingang even
though it is not a dominant 7th chord but simply a plain vanilla
dominant chord?

>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.

I shall be prolific, fruitful and unafraid!

>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.

I agree that improvisation is unnecessary here, but what about simply
modifying articulation on the repeated figure mentioned? For
example, loud/tongued and then soft/slurred?

>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.

Got it. I assume you meant "the FASTER the movement..."?

>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!!
>

Make sure the spies come up and say hi after the performance! We
will excise M. 111 with extreme prejudice!

-------------------------------------------------------------------
Klarinet is a service of Woodwind.Org, Inc. http://www.woodwind.org

   
     Copyright © Woodwind.Org, Inc. All Rights Reserved    Privacy Policy    Contact charette@woodwind.org