Klarinet Archive - Posting 000035.txt from 2009/09
From: "Keith Bowen" <bowenk@-----.com>
Subj: RE: [kl] Mozart Bassethorn trios - key?
Date: Sat, 12 Sep 2009 19:34:01 -0400
I have also taken this idea up after Tony suggested it, using my basset
clarinet in A, and it is a really excellent way to play them, and, as Tony
says, to learn from them.
Keith
-----Original Message-----
From: tony.pay@-----.com] On Behalf Of Tony Pay
Sent: 12 September 2009 23:04
To: klarinet@-----.org
Subject: Re: [kl] Mozart Bassethorn trios - key?
Dan Leeson wrote:
>> What this says is that the performance of the trios on three B-flat
clarinets is equally satisfactory. It would even work on three C
instruments, if one had a basset clarinet in C. That A instruments can be
used is also true, but I don't find any particular advantage in using them.
The different tonal character of A clarinets does not, in my opinion, add
any benefit, and that's because I don't think that the A instruments are
softer or darker than B-flat instruments. Different, yes. But soft and
dark is in the ear of the listener.>>
Yes, Dan, this is true.
However, I find that the trios are excellent introductions to the
stylistic presumptions of Mozart's music. Other people may not have
these concerns -- but I do. Therefore, if I find myself working with
a class of students, pairs of whom can play with my basset clarinet on
the third part, then I am in an excellent teaching situation.
I even think that the opportunity for students to understand how
Mozart's phrasing works through this experience is a much more
important consideration than ANY other to do with how the pieces
SHOULD be performed.
However, the reason that I originally mentioned it -- perhaps it was
to Sarah herself, perhaps on either this list or another -- is that it
is a situation that commonly occurs with me, and for similar reasons,
may well occur in other environments. That's because basset clarinets
in A are much more commonly available than the others, and therefore
the trios may be more often played with no other 'special' instruments
other than the one basset clarinet.
I'd say that the best way to do it is from the NMA scores. Each
player can then see the other two parts, and appreciate why a quite
particular interpretation of Mozart's phrasing WORKS in this
situation. What's more, you don't have to ignore the Trio di
Clarone's often dubious editing.
I have to admit that the idea that one could use two A clarinets plus
basset in A didn't occur to me for some time -- actually a long time
after I could have found it useful. Therefore I thank Sarah for
promulgating the idea here.
For what it's worth, I have personally found that the works sound well
in A major. (And you would have to agree that clarinets in A are
closer in sound to clarinets in F than are clarinets in Bb or C.)
I hope others take it up -- especially if they understand the ideas
that lie behind 'Phrasing in Contention'.
Tony
--
________ Tony Pay
|ony:-) 79 Southmoor Rd
| |ay Oxford OX2 6RE
tel/fax 01865 553339
mobile +44(0)7790 532980 tony.p@-----.org
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