Klarinet Archive - Posting 000250.txt from 2006/10

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Margaret on Sabine Meyer's performance of K. 581
Date: Wed, 18 Oct 2006 10:07:31 -0400

Keith, it is worse than that. There IS a particular thing called
for in the quintet that is a sort of a distant second cousin to a
cadenza. It's the Eingang that connects the Adagio variation to
the final Allegro variation.

According to Margaret, Meyer play an Eingang, which is fine. But
then, after playing the Eingang, she somehow allowed it to flow
into a cadenza. I'm not exactly sure how because I was not at the
performance, but I am accepting Margaret's comments as accurate,
though I do have to invent a little to clarify the situation in
my mind.

In all of 18th century music, there is not a single case of an
Eingang flowing directly (or even indirectly) into a cadenza. The
two, back to back, are oil and water, and to do such a thing is
entirely unheard of. Furthermore, there is no legal way to get to
a cadenza from an Eingang. It is something conceptually similar
to connecting two entirely unrelated keys without a modulation.
It just isn't done, and it can't be done elegantly.

It would a blunder of significant character.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Keith Bowen [mailto:bowenk@-----.com]
Sent: Wednesday, October 18, 2006 6:30 AM
To: klarinet@-----.org
Subject: RE: [kl] Margaret on Sabine Meyer's performance of K.
581

Charles Neidich did the same at a performance in the Prague
Spring earlier
this year. The program stated, amusingly "Originally, there was
no cadenza
in this concerto....". As you say, there still isn't!

Keith Bowen

> -----Original Message-----
> From: klarinet-return-89062-bowenk=compuserve.com@-----.org
>
[mailto:klarinet-return-89062-bowenk=compuserve.com@-----.org]
On
> Behalf Of dnleeson
> Sent: Wednesday, October 18, 2006 1:35 PM
> To: klarinet@-----. org
> Subject: [kl] Margaret on Sabine Meyer's performance of K. 581
>
>
> If I fully understand what Margaret wrote about Meyer's
> performance of K. 581, she actually inserted a cadenza where it
> was not requested. Margaret wrote: "[In a performance of the
last
> movement of K. 581] after the Eingang, and its resolution,
there
> was a cadenza which modulated into a distant key."
>
> I have absolutely no reason to disbelieve what Margaret wrote
> about this matter. As such, this is a sad example of Meyer's
> failure to understand the nature and purpose of a cadenza in an
> 18th century composition. It is real case of a square peg in a
> round hole, and I'm amazed that such a gifted performer would
> make such a significant error of form.
>
> Dan Leeson
> DNLeeson@-----.net
>
>
>
>
>
>
>
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