Klarinet Archive - Posting 000027.txt from 2006/05

From: "Tony Pay" <tony.p@-----.org>
Subj: Re: [kl] Grand Duo
Date: Thu, 04 May 2006 03:01:16 -0400

The thing is, Weber collaborated with Baermann, and they actually
wrote one piece together.

Sometimes Weber is quite sketchy, and we know that Baermann decorated
some of the material. If you have a sense of how the harmonic
language works, you incorporate such embellishment into your
performance in a way that doesn't undermine the strength of what Weber
wrote. Some of the dynamics, taken literally, do undermine that
strength, and limit your choices.

An example of this limitation of choices is the 'lusingando' passage
in the first movement. Most editions take it for granted that you
begin quietly and crescendo, and indeed that's one way of doing it.=20
But you can just as easily caress the first note and then tail away
seductively with the D#/E wobble, and it makes the next
second-half-accented bar more effective, in my view.

You'd never think of that looking at Weston's supposedly Urtext
edition clarinet part. Indeed, throughout she seems to think that
playing expressively MEANS starting quietly and crescendoing, and
that's what in my view is damaging. The classical style rather begins
and then lightens, and if you want to represent Weber as both
classical and incipiently romantic, you need to have the language of
the former available in your response.

Tony

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