Klarinet Archive - Posting 000052.txt from 2006/10
From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Playing with Basset Horns
Date: Thu, 05 Oct 2006 12:17:04 -0400
About the problems of playing the clarinet part in the
Barenreiter edition and the orchestra parts in anyone else's
edition (such as Kalmus, B&H, etc.) what did you do?
Second, what about the high b-flat? Did you play it as a half
note or as two quarters?
And there is a third question that we all have to address one
day, but I don't think that it's ever really been brought up.
The third movement is a rondo of a specific type. The rondos
fall into types 1, 2, and 3 depending on how many times you go
back to the beginning or the A theme. The Mozart concerto, last
movement, is a rondo of type 3 meaning that you get the A theme a
lot of times. I think it is four or five, but I haven't counted
recently. What the general form is, is A theme - B-theme -
A-theme, and then you start having changes such as A-C-A, and A-B
(transposed)-A, etc. But whatever happens, there is a lot of A.
And it is the duty of the soloist to consider what has to be done
to the A theme so that it is NOT repetitious; i.e., the same for
every one of its multiple presentations.
But as I say, that is a question for another day. The high
b-flat is today's question. And as I remember, Sean, you said
you were not going to play the note as anything other than a half
note. Your reasoning was that the violins had it that way and you
did not want to be standing up while everyone else was sitting
down. To that I remarked that you were accepting the authority
of the orchestral parts (which have no authority whatsoever)
against a manuscript in Mozart's own hand of that measure (which
is about as much authority as one can find).
Dan Leeson
DNLeeson@-----.net
-----Original Message-----
From: Sean Osborn [mailto:feanor33@-----.net]
Sent: Thursday, October 05, 2006 8:38 AM
To: klarinet@-----.org
Subject: [kl] Playing with Basset Horns
Doug,
Thanks for the kind words, and thanks for coming. I did
transpose all the
parts I played. I was surprised to see that the versions most of
us have
played - 2 cl/bn is in the wrong key! What is usually done is
transpose
from the original key of F to Bb - transposing the clarinets UP
and the
Bassoon down. The clarinets are then playing the same written
parts as the
first two BHs do when they play in a trio. So, for this show, I
transposed
all my stuff back down to F.
Those of you on the other side of the country have a chance to
hear me play
the Mozart concerto again - hopefully on a Basset Clarinet this
time, on
March 10th in Hickory, NC with the Western Piedmont Symphony
Orchestra.
Cheers,
Sean
>Sean, nice job on the concerto - as well as the other pieces.
I'm very
>impressed that you played it all from memory.
>
>I would like to have seen a basset clarinet but ...
>
>On the Divertimento where you played clarinet and the others
played basset
>horn, were you transcribing? I assume the ranges were
different, what did
>you do about that?
>
>Thanks.
>
>Doug
www.osbornmusic.com
-----------------------------------------------------------------
--
Klarinet is a service of Woodwind.Org, Inc.
http://www.woodwind.org
-------------------------------------------------------------------
Klarinet is a service of Woodwind.Org, Inc. http://www.woodwind.org
