Klarinet Archive - Posting 000060.txt from 2011/08

From: "Dan Leeson" <dnleeson@-----.net>
Subj: Re: [kl] Mozart quintet repeat
Date: Fri, 12 Aug 2011 08:18:06 -0400

I've never heard this explanation for repeats, but I would not discount this
possibility. Also recognize that with the pre-33-1/3 rpm recordings,
repeats were NEVER taken so as to allow the performance to be contained on
the old 12 inch 78-rpm disk. I once had a cellist who had played with Brahms
what they did in Vienna in the late 1800s, and he told me that they always
repeated everything. Today, we don't repeat anything. Times and
circumstances change performance practices.

Dan Leeson

----- Original Message -----
From: "Martin Baxter" <martinbaxter1@-----.com>
To: "The Klarinet Mailing List" <klarinet@-----.com>
Sent: Friday, August 12, 2011 2:52 AM
Subject: Re: [kl] Mozart quintet repeat

> Dan,
> Isn't there a third reason: that composers would not necessarily have
> their works heard more than once (no recordings + in Vienna, a taste for
> novelty in music) and therefore repeated thematic material in order that
> the listener should have more chance of recognizing it when it reappeared
> and could consequently appreciate the thematic construction/variation in
> the work.
> Or again could it have been the 18th cent. version of the art of
> song-plugging!
>
> Martin
>
> On 12 Aug 2011, at 01:30, Dan Leeson wrote:
> There are two reasons why composers (particularly in Mozart's era) used
> repeats: The first reason is to be able to write a little music and get a
> lot of it.
> Effectively, it doubles the performance time without have to write
> additional material.
> The second reason is the much more important one. Players of the 18th
> century were performer/composers and ample
> opportunity was given to them to show their skill at instantaneous
> composition while performing. They were expected to improvise based on
> the
> written text provided by the composer
>>
>>
>
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