Klarinet Archive - Posting 000371.txt from 2006/10

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] For the begginger in improvisation
Date: Mon, 30 Oct 2006 18:51:54 -0500

I don't know the books and can't say anything about them. Levin
and I were considering doing a book solely on classical
improvisation, but his schedule wouldn't allow it. Too bad.

YOu should not be interested in any books on baroque
improvisation. It was a different world. Betty Bang Mather
wrote a book on that.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Keith Bowen [mailto:bowenk@-----.com]
Sent: Wednesday, October 25, 2006 2:32 PM
To: klarinet@-----.org
Subject: RE: [kl] For the begginger in improvisation

Dan,

Thanks for that very useful info.

Searching Amazon, I find the following books on performance
practice:

"Classical and Romantic Performing Practice 1750-1900"
Clive Brown; Paperback; #29.99

"Performance Practice"
Roland Jackson; Hardcover; #85.00

"Playing with History: The Historical Approach to Musical
Performance
(Musical Performance & Reception)"
John Butt; Paperback; #15.19

Do you know anything about these? They all claim to include at
least
something on classical performance practice. (The # are UK
pounds, not $).

Keith

> -----Original Message-----
> From: klarinet-return-89177-bowenk=compuserve.com@-----.org
>
[mailto:klarinet-return-89177-bowenk=compuserve.com@-----.org]
On
> Behalf Of dnleeson
> Sent: Wednesday, October 25, 2006 9:55 PM
> To: klarinet@-----. org
> Subject: [kl] For the begginger in improvisation
>
>
> Because there are almost no detailed books about improvisation
in
> music of the classical period, the clarinettist who wants to
> learn something about how to do it is reduced to listening to
> performances by people who do it, some well, some less well.
But
> at least one can listen and, perhaps learn. Without some
> practical examples, one is left in an unfortunate limbo.
>
> Recently, Bob Levin, who is perhaps the leading proponent of
> really impetuous and not prepared improvisation has released a
> recording of works that most clarinet players probably have
never
> heard, which is a good basis for understanding how it is done
> because you will have few preconceptions. (By the way, the term
> "prepared improvisation" is an oxymoron, but I couldn't find
> another way to say what I needed to say.)
>
> There are three piano sonatas, K. 279, 280, and 281. Mozart
was
> 19 when he wrote them. Each has exactly three movements, and
> each movement has two sections, each of which is repeated. So
out
> of three sonatas of 6 sections each, you get three sonatas of
12
> sections each. This gives a wonderful laboratory to see and
hear
> how the first and second presentations of the same section
differ
> from each other, because Levin does some remarkable
> improvisations in EVERY repeated section. It also shows how
18th
> century composers could write 10 minutes worth of music and
> produce something that would take 20 minutes to play.
>
> The only problem with his performance is that his ornaments are
> often so subtle and completely in character that you really
don't
> know that what he added was entirely his invention and not
> Mozart's explicit recommendation. And to get around the
problem,
> you will need a copy of the three sonatas so that you can
follow
> them while listening. Pay careful attention to the slow
movement
> of K. 280. Now that is the improvisor's dream piece.
>
> The recording is Deutsche Harmonia Mundi, 82876-84236-2 and it
> comes with two disks. One contains the three sonatas and the
> other contains a most interesting lecture by Levin on these
early
> Mozart sonatas and the several distinct differences between the
> modern and 18th century pianos as well as the development of
the
> modern piano, which is a glorious piece of engineering, to say
> nothing of a wonderful musical instrument. But the 18th century
> piano is also a thing of beauty, too.
>
> Go. Learn.
>
> Dan Leeson
> DNLeeson@-----.net
>
>
>
>
>
>
>
>
>
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