Klarinet Archive - Posting 000062.txt from 2011/08

From: "Dan Leeson" <dnleeson@-----.net>
Subj: Re: [kl] Mozart quintet repeat
Date: Fri, 12 Aug 2011 10:11:41 -0400

Your first paragraph is exactly correct. And I know the work to which you
are referring. It is a string trio, and the comment, "Da capo senza
repliche" automatically implies that taking the repeats was the normal
custom.

Dan

----- Original Message -----
From: "Keith Bowen" <keith.bowen@-----.com>
To: "'The Klarinet Mailing List'" <klarinet@-----.com>
Sent: Friday, August 12, 2011 6:45 AM
Subject: Re: [kl] Mozart quintet repeat

> Dan
>
> There is at least one occasion, which you can probably reference, in which
> Mozart writes at the end of a trio section of a minuet, "da capo senza
> repliche". Which implies that the normal custom was to take repeats in the
> DC part of a minuet, unlike current practice.
>
> It's an interesting remark that the influence of early recording
> technology
> may have affected current practice.
>
> Keith
>
>
> -----Original Message-----
> From: Dan Leeson [mailto:dnleeson@-----.net]
> Sent: 12 August 2011 13:18
> To: The Klarinet Mailing List
> Subject: Re: [kl] Mozart quintet repeat
>
> 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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