Klarinet Archive - Posting 000050.txt from 2006/01

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Gran Partitttta (K. 361)
Date: Thu, 05 Jan 2006 12:13:07 -0500

No. I would not agree with that at all.

A cadenza is of some length, perhaps a few minutes. Beethoven's
cadenzas can often be close 5 minutes. And Ibert, who wrote a
cadenza for K. 622 (what a putz!) has one that is close to 7
minutes.

An Eingang is short. If it is longer than 10-15 seconds, it's
too long.

The purpose of a cadenza is utterly different from that of an
Eingang. Not only does a cadenza have to resolve the ambiguity
of a tonic chord in the second inversion and get it to a tonic
chord in the root position, but it must do so through the
mechanism of creation a brief improvise3d composition made up
almost entirely of the principle themes of the movement that you
have been listening to.

The purpose of a cadenza is to ease the transition from one
section to another.

Instruments that do not have the ability to create harmony have
limited opportunities for cadenzas.

Eingänge can be played on a kazoo.

The only similarity between the cadenza and the Eingang is that
both occur when there is a fermata.

An explanation like this has to be at least a 5-pizza lecture.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Joseph H. Fasel [mailto:jhf@-----.gov]
Sent: Thursday, January 05, 2006 8:18 AM
To: klarinet@-----.org
Subject: RE: [kl] Gran Partitttta (K. 361)

Dan,

To say that it is "nothing like a cadenza in the slightest" is a
bit
over the top, IMHO. Perhaps you mean to say, as Douglas Adams
might
have, that an eingang is almost, but not quite, exactly unlike a
cadenza. ;-)

Like a cadenza, it a place where an embellishment or
improvisation is
called for at a particular kind of harmonic transition. Like a
typical
Baroque cadenza, it should be brief (as is not generally the case
for a
late Classical cadenza). I think you've taught me, though, that
an
eingang shouldn't be overly elaborate or showy, as a cadenza
(Baroque or
later) often is. And of course, the structures of the two kinds
of
embellishments will be quite different because of the difference
in the
kinds of harmonic transitions they mark.

Would you agree with that?

Cheers,
--Joe

On Wed, 2006-01-04 at 13:35, dnleeson wrote:
> It is nothing like a cadenza in the slightest. The musicians
cut
> off and the party who plays the eingang does it alone. It's
> short, not fancy, and if it is longer than 10-15 seconds,
that's
> to long. It ends either on the 7th or the 2nd of scale so that
> it can LEAD IN to the tonic note.
>
> Repeat after me: IT IS NOT LIKE A CADENZA,
> IT IS NOT LIKE A CADENZA,
> IT IS NOT LIKE A CADENZA,
> IT IS NOT LIKE A CADENZA,
> IT IS NOT LIKE A CADENZA,
> IT IS NOT LIKE A CADENZA,
> IT IS NOT LIKE A CADENZA.
>
> And it can be found in almost all chamber must from the last
half
> of the 18th century. You have not been listening carefully.
And
> I still get a pizza.

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