Klarinet Archive - Posting 000549.txt from 2010/09

From: "Dan Leeson" <dnleeson@-----.net>
Subj: Re: [kl] Improvising in Mozart
Date: Mon, 20 Sep 2010 14:22:32 -0400

The three Eing=E4nge in K. 622 occur at m. 127 and 315 in the first movemen=
t =

and in m. 59 in the second movement.

The next issue that arises is how the player knows that an Eingang is being =

requested as contrasted with a Cadenza.

An Eingang is always requested with (1) a fermata and (2) a dominant sevent=
h =

chord. The soloist should end the Eingang on either the second or the =

seventh of the tonic scale. It allows a graceful "lead in" to the tonic =

chord which is in the next measure. The purpose of an Eingang is to to =

invite the soloist to make that connection between the dominent seventh and =

the tonic chords. An Eingang is not expected to be very long. I cannot give =

a universal time for Eing=E4nge but 10-15 seconds is probably fully =

sufficient, and a great deal of technical display is neither called for nor =

requested.

A Cadenza, for which you will have to look at one of the piano concerti of =

Mozart to see how they work, is always called for with (1) a fermata and (2=
) =

a tonic chord in the second inversion (the fifth in the bass). This produce=
s =

a very unstable music condition, which demands resolution to the tonic in =

its root position. It is the soloist's job to eliminate that instability, =

and does so by inventing an improvised fantasy on the main tunes that have =

been heard thus far, and to end the Cadenza (and the instability) on a =

strong dominent chord (usually a trill on the second or seventh of the toni=
c =

scale) at which point the orchestra entersw on the tonic and the instabilit=
y =

problem goes away. Here, the improvisatory cleverness of the soloist allow=
s =

some time, often as long as 1 or 2 minues. What the audience should feel is =

recognition that the player can improvise using the raw material of some of =

the tunes that have been heard so far. Cadenzas of the Romantic era are a =

place to show what a fine technique the soloist has, so it should be =

blisteringly difficult. But that is the cult of bringing service to the =

soloist instead of bringing service to the music. It's Broadway, which is =

antithetical to the intimate music of the 18th century.

Dan Leeson

----- Original Message ----- =

From: "Jennifer Jones" <helen.jennifer@-----.com>
To: "The Klarinet Mailing List" <klarinet@-----.com>
Sent: Monday, September 20, 2010 10:10 AM
Subject: Re: [kl] Improvising in Mozart

>I did not mean to suggest that people should argue just because I made
> some logic and word play that led to such a characterization. There
> is a difference between argument, civilized debate and discussion.
> Then there can be different degrees of argument. I prefer to stay on
> the civilized end of the spectrum and I suspect many list members
> prefer that as well.
>
> I am quite capable of ad libbing and improvising verbally. I am not
> skilled in musical improvisation. At least not in the style of Mozart
> or Jazz.
>
> I have heard of an eingang. Alas, I had forgotten the term though. I
> am glad to be reminded of it.
>
> Dan Leeson's explanation was much clearer than the wiktionary and
> wikipedia explanations too. Wikipedia even calls it a cadenza. This
> may be one of those well estabi classic point of debate? From what I
> remember of the eingang written into my old sheet music, it was Carl
> Baermann's famous one, which sounded more like a lead-in than a
> segment unto itself.
>
> So, I looked at the imslp copy of the concerto and cannot find it.
> Where is it supposed to be? I want to guess between measures 59 and
> 60 of the second movement.
>
> -Jennifer
> _______________________________________________
> Klarinet mailing list
> Klarinet@-----.com
> To do darn near anything to your subscription, go to:
> http://klarinet-list.serve-music.com =

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