Klarinet Archive - Posting 000086.txt from 2006/10
From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Mozart Concerto -- Rondo Form
Date: Fri, 06 Oct 2006 19:46:21 -0400
The issue is the number of times musical material is restated in
unornamented fashion. The best example of this is the quintet, K.
581. The minuet has two trios. Thus one plays the two sections
of the minuet with repeats, and then trio 1 with repeats.
Following that one plays the minuet again and can even do so with
the repeats still in place (that's four times so far if you take
the repeats). Then trio 2 and the minuet repeats a third time
with the repeats still possible (that's six times). When played
that way, the musical material is not strong enough to stand
those 6 unchanged repetitions. So we musicians, recognizing the
problem, take the simple solution of NOT making the repeats in
the minuet on each of the two da capos. I know that it has become
a custom to not play the repeats on the da capos, but that is not
the way the piece was necessarily played in 1785. Some people
play minuets and trios with no repeats at all, because minuets
are thought to be weak. But I think that they are opportunities
for the most imaginative improvisatory material.
The constant repeating of the same melodic material was
recognized in the 18th century as capable of becoming boring. To
avoid that the da capos and the repeats within the da capos (if
one takes them) would become the basis for improvisations of more
and more complexity and/or inventiveness. A soloist was
considered a good player based on many things, including his or
her imagination as demonstrated in their ability to improvise
intelligently.
Now we come to the clarinet concerto. The opening theme of the
final movement is repeated three times, namely m. 1, 114, and
247. One might think, therefore, that the form of the last
movement is the simple ABACA, but it is considerably more
complicated than that. Materials from the B section of the
concerto wend their way into the C section. For example the theme
first heard in B (m. 57) occurs again in C (m. 187). This was one
of the characteristics of the rondo of type III format; i.e.,
themes in B were heard again in C in transposed and highly
ornamented form, something never heard in the far simpler ABA
form. In effect, the B section is really several different and
unrelated themes at least one of which is given again in the C
section often in a different, and hihgly varied form with Mozart
doing all the work of making the melodic repetition considerably
different and more varied.
But not in the three presentations of the main theme. Those three
presentations are for the soloist to demonstrate his/her ability
by creating, through improvisation, some variation of the
original theme. Notice how short the second presentation of the
main theme is (m. 114-120) and also at m. 247-254. But as Mozart
tears up the pea patch in the B and C sections (each of which has
several subthemes), the soloist is expected to present his
imaginative improvisations in the 2nd and 3rd repetion of the
main them.
Dan Leeson
DNLeeson@-----.net
-----Original Message-----
From: Shaw, Kenneth R. [mailto:krshaw@-----.com]
Sent: Friday, October 06, 2006 2:25 PM
To: klarinet@-----.org
Subject: [kl] Mozart Concerto -- Rondo Form
Dan -
Given that the finale of the Mozart Concerto is in the most
complex of
three rondo forms, what did Mozart expect Stadler to do? When
Stadler
recognized the form, what would he have done that was different
from how
he would have played a less complex rondo?
More to the point, now that I know that the finale is in a
complex rondo
form, what difference does it make in the way I play it?
I already recognize that the A section returns in any rondo form
and do
something to mark the section break -- usually slowing down
slightly and
emphasizing the fact that a break has occurred. I may play out
on the
theme, to remind the audience (and myself) that the A section has
returned, or add an ornament, or give a "here it is again" nod to
the
audience.
When the A section returns several times, I know that I'll need
to mark
it each time, and perhaps add extra ornaments on the second and
third
repetitions.
What should I know and do in addition, based on the more complex
rondo
form?
Ken Shaw
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