Klarinet Archive - Posting 000126.txt from 2009/10

From: Joseph Wakeling <joseph.wakeling@-----.net>
Subj: Re: [kl] Lorenzo Coppola plays K. 622
Date: Sun, 11 Oct 2009 16:09:11 -0400

Dan Leeson wrote:
> It appears to me that you consider a composition almost exclusively in
> terms of the pitches of its notes. So when I said that K. 361 first
> edition had 800-900 changes in the placement or intensity of dynamic,
> you did not find the quantification as important as the fact that only
> 50 or so notes were incorrect.

On the contrary I find it _very_ important that these changes are
identified, for exactly the reasons you've specified -- which is why I'm
profoundly grateful to you and scholars like you who have done so much
work to uncover and understand the sources of works.

> What we have in the discussion of the high G played by Coppola (and
> which I think you favor, but which I do not because of the arguments I
> gave) is that the register in which one plays the pitch has less
> importance to you than it does to me.

As far as I'm concerned the register is as much part of 'correct pitch'
as the note name. Hence my desire to own a basset clarinet ... :-)

> And for anyone else who reads this note, I'm still tying to find out in
> what orchestra is Coppola a member of the clarinet section?

I found this little biography (in French):
http://www.concerts.fr/Biographie/lorenzo-coppola

It doesn't list him as a permanent member of any ensemble, but he's
obviously played with many of the major period instrument groups.

One more thing, which I'd really like to know if you or anyone else
knows more about. While doing some background reading via Google
Scholar (actually I was trying to see if an online copy of George
Dazeley's article was available, from JSTOR or something similar) I came
across a passage from Colin Lawson's book on the Mozart concerto. He
notes that the 19th-century opera in Darmstadt had a Bb basset clarinet
(clearly for Tito), with a fully chromatic extension (a surprise,
because Tito only requires low C and D). The explanation was that
apparently the Darmstadt library also had a Bb edition of the Mozart
concerto, which was destroyed in World War II.

Does anyone know any more about this edition and its contents? After
all, the implication here is that a basset clarinet version of the
concerto did survive ...

Best wishes,

-- Joe

------------------------------------------------------------------