Klarinet Archive - Posting 000057.txt from 2011/03
From: "Keith Bowen" <keith.bowen@-----.com>
Subj: Re: [kl] Mozart and contemporaries
Date: Thu, 10 Mar 2011 04:31:47 -0500
Diego,
>From my own research on contemporary instruction manuals and composers'
letters, I would say that none of the performance practices we have been
talking about would be exclusively for Mozart. Indeed much of what is
suggested about Mozart performance comes from evidence on the general
conventions of the time.
This would apply generally to classical-period composers, roughly 1750-1830.
Of course, there were developments and changes during this period. One that
comes to mind immediately is that the trill changed from being predominantly
started on the upper note to starting on the principal note. This is also a
way of saying that the trill changed from being largely harmonic
(emphasizing the suspension at the start of the note) to being largely
melodic or decorative.
Incidentally, an aspect of the melodic trill that is little known these days
is that the principal note should sound more predominantly than the upper
note. It's interesting to find out how to do this.
Another major trend over the period was against improvisation and
embellishments. Romantic-period composers were characteristically against
this, and there is plenty of evidence in which they fulminate against
players not playing exactly what they have written but insisting on putting
in 'extraneous' decorations. Which in itself proves the earlier tradition. A
look at any scores from the late eighteenth century compared with mid
nineteenth century shows the extraordinary growth of very detailed markings
(dynamics, articulation) in the score, as composers strove for their
individual expression, rather than relying on the general performance
practice of the era plus performers' elaborations.
No doubt Dan and others can add more.
Keith
-----Original Message-----
From: Diego Casadei [mailto:casadei.diego@-----.com]
Sent: 10 March 2011 07:42
To: The Klarinet Mailing List
Subject: [kl] Mozart and contemporaries
Hello.
I have a (naive) question on Mozart and contemporaries, for Dan and
other experts. From several emails, I learned a lot -- thanks!!!! --
about style and interpretation of Mozart's music. The question is, to
what degree this applies exclusively to Mozart or can be considered
general for his period? In addition, what other authors would
reasonably benefit from a similar approach to the interpretation?
Every composer (at least the most important ones) worked in some
environment and brought something new. Hence it is interesting to know
what aspect are important for the authors until Mozart and what other
things are important from Mozart on.
Thanks in advance,
Diego
--
Diego Casadei
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