Klarinet Archive - Posting 000072.txt from 2011/08

From: Finn Jespersen <fj4800@-----.dk>
Subj: Re: [kl] Mozart quintet repeat
Date: Sun, 14 Aug 2011 08:25:17 -0400


Hi, Your last sentences made me curious, Keith! A"basset joint"! Is this a sort of a prolongation for an ordinary clarinet - to get ekstra deep tones? Forgive me if I am foolish! Finn

> From: keith.bowen@-----.com
> To: klarinet@-----.com
> Date: Sun, 14 Aug 2011 12:39:03 +0100
> Subject: Re: [kl] Mozart quintet repeat
>
> Mark,
>
> I deliberately wouldn't answer your direct question, because it would be
> wrong to do so. Dan encapsulated this when he was coaching us at
> Kammermusik, on hearing a fine eingang by a clarinettist: "Brilliant
> eingang, David. Now, never do that one again!". The essence of
> embellishments is that they are spontaneous. The trouble with recordings is
> that they are always the same. Tony Pay wouldn't give the same performance
> twice.
>
> Dan and Tom have given good principles to follow, and this is pretty much
> all you are allowed to have! I would add that you need some knowledge of
> harmony. You must make sure that the embellishments are within the local
> key. This often means simply obeying the key signature, but you must know
> whether the music has modulated to the dominant, or whatever. There's one
> passage in the Gran Partitta Adagio where the written part is three widely
> separated notes. I usually do a scale/arpeggio/broken chord between them;
> but though the key signature has not changed, study of the score shows that
> there is a modulation during the second note. In this case, as I recall, the
> upwards embellishment is C major, the downwards in C minor.
>
> Another Dan mantra: less is more. You don't have to change everything. Be
> subtle. As he says, the Lewin concertos are exemplary.
>
> Oh and you need to get a basset joint for your clarinet. Since we don't know
> exactly what Mozart wrote for the clarinet let alone basset clarinet, this
> also guarantees some sort of embellishment!
>
> Keith
>
>
> -----Original Message-----
> From: Mark Thiel [mailto:mark.thiel@-----.com]
> Sent: 13 August 2011 18:37
> To: klarinet
> Subject: [kl] Mozart quintet repeat
>
>
>
> OK, since no one has actually answered the actual question I originally
> posed (though as usual there have e been interesting digressions), which was
> what you personally do in the Mozart Clarinet Quintet slow movement for the
> reprise of the opening melody (bar 51-70), I listened to some
> recordings. I found 4 (which surprised me, though I've also got George
> Silfies somewhere).
>
> Yes, I know that professional clarinetists are not necessarily (often?)
> musical experts and that I can't expect to come up with appropriate
> performance practice by averaging what I hear.
>
> I also checked tempos just for amusement, though my numbers are rough
> averages since everyone varied the tempo quite a bit,
> especially on the reprise.
>
> Walter Boeykens first time 42; reprise 40, no embellishments
>
> Jozsef Balogh (a Hungarian, should be an accent on the o of Jozsef) first
> time 44; reprise 42, quieter, no embellishments
>
> Richard Stoltzman first time 38; reprise 35, more vibrato, no
> embellishments, rubatissimo (or should I say rubato that should
> be charged as grand larceny) especially on bar 50, which is the bar of 16th
> notes leading up to the reprise. The concerto is
> on the same disk and in the slow movement there he does a quite nice eingang
> and tasteful embellishments in the reprise
> (along with even more vibrato).
>
> Antony Pay first time 40; reprise 38 with a lot of rubato especially bar
> 50, embellishments starting in bar 58 (the 7th
> bar of the reprise) consisting of 2 apoggiaturas, 1 grupetto, a double grace
> note and about a dozen 16th notes played
> rhythmically instead of eights or quarters.
>
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