Klarinet Archive - Posting 000066.txt from 2007/10

From: "David McClune" <dmcclune@-----.edu>
Subj: Re: [kl] repeats
Date: Mon, 08 Oct 2007 09:30:33 -0400

Lets take an alternative approach to repeats. =20

1. If you were alive at the court of whomever in Germany in 1780, you =
would have ONE opportunity in your lifetime to hear the XYZ clarinet =
quartet. The composer knew this, you knew this and the players knew this. =
So maybe the repeats are so the audience deeply understands the melodic =
and formal nature of the piece. We all nod off during performances, thus =
we had two chances to hear the "B" section of the trio of the minuet.=20

2. Chamber music was often background music for the court and its various =
functions. The audience might listen you the performance or could be =
discussing the latest whatever happening at the court. We musicians and =
the composers were high class entertainers, though we had a low social =
status. If there is a two hour receptions, it is far easier to write one =
hour of music and include repeats to double the length of the music.

3. As for dance inspired movements, the form was set to be able to dance =
to it. =20

4. If you study the paintings of the time, often there seems to be =
talking going on during the 'concert' being painted.

Just some not so random thoughts.

Now to run off and teach roman High Renaissance paintings and architecture=
.

Dave

Dr. David McClune
University Professor of Music
Director of Bands/Woodwinds
Union University-1862
1050 Union University Drive
Jackson, TN 38305

Office-731-661-5294
dmcclune@-----.edu
www.mcclunemouthpiece.com

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