Klarinet Archive - Posting 000028.txt from 2006/01

From: "Keith" <bowenk@-----.com>
Subj: RE: [kl] Gran Partitttta (K. 361)
Date: Wed, 04 Jan 2006 14:56:02 -0500

> -----Original Message-----
> From: Curtis Bennett
> Sent: 04 January 2006 19:34
> To: klarinet@-----.org
> Subject: Re: [kl] Gran Partitttta (K. 361)
>
>
> Sorry for the stupid question, but WRT to the earlier
> discussions in this thread :
>
> What the heck is an eingang?
> --
> Curtis Bennett

I dare to answer this to check that I have got Dan's teaching right!

Literally, "going in". In 18th century classical convention, when there is a
fermata over a chord of the dominant seventh, followed (as it usually is) by
a passage back in the tonic, the player who has the tune in the following
tonic passage is expected to play a little phrase, just a few notes, to take
us back to the tonic in a logical and interesting way. For example a scale
with a trill or two. Naturally, this should be in the tonic key. It should
be invented on the spot and not written out or prepared, and once you have a
good one you do not repeat it, but go on and invent another good one.

It is different from a cadenza, which is called for by a fermata on the
second inversion chord of the tonic. Why? This is a very unstable chord as a
cadence, and calls for something more. The cadenza is longer and should
explore the thematic and harmonic content of the movement, by the solo
instrument in a concerto.

Eingange are fun. The way to learn how to do them is just to do them and get
loads of them "wrong" at first. Do them on every possible occasion in
rehearsal to get a feel for what works, what doesn't, and what is a total
disaster, and endure the grimaces and falling about laughing of your peers.
Then you will at least be respectable in performance.

How did I do?

Keith Bowen

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