Klarinet Archive - Posting 000075.txt from 2011/08

From: "Dan Leeson" <dnleeson@-----.net>
Subj: Re: [kl] Mozart quintet repeat
Date: Sun, 14 Aug 2011 10:58:25 -0400

You need to be more accurate. Sabine Meyer did not record the Mozart =

concerto on a "basset horn."
and you note below asserts. Instead, she recorded it on a "basset =

clarinet," which is something else again.

Dan Leeson

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

From: "Finn Jespersen" <fj4800@-----.dk>
To: <klarinet@-----.com>
Sent: Sunday, August 14, 2011 7:36 AM
Subject: Re: [kl] Mozart quintet repeat

Thank you Keith! In fact I have the Concerto with Sabine Meyer on basset =

horn, maybe it=B4s "just" her A clarinet rebuilded! I don=B4t think this =

prolonging is on the market here in Scandinavia - I=B4ve never seen it, but =

will keep my eyes open. I think Stephen Fox is to wide from here.

Another thing: Does somebody have score an parts for the overseen but =

excellent clarinet quintet by Benjamin Frankel (english composer of film =

music). Can=B4t find it on the market.

b.w. Finn

> From: keith.bowen@-----.com
> To: klarinet@-----.com
> Date: Sun, 14 Aug 2011 15:10:40 +0100
> Subject: Re: [kl] Mozart quintet repeat
>
> Finn
>
> Yes, exactly. The Mozart concerto and quintet were written for basset
> clarinet in A. This is a (normal soprano pitch) clarinet, invented by
> Stadler (made I think by Lotz), which has keywork extending to low written
> C, a third below the norm. There are, for example, the passages where a
> figure is repeated in three octaves is played accurately rather than =

> altered
> in the lowest octave as required for the normal clarinet.
>
> Several manufacturers now make complete basset clarinets. A cheaper
> alternative is to get an alternative replacement joint for the lower joint
> of your A clarinet. Stephen Fox is IMO the best person to go to for this. =

> I
> have one, one which I performed the Quintet on the Leblanc Concerto I had
> then, and a friend borrowed it to perform the Concerto on his Buffet. I =

> have
> since changed to Wurlitzer Reform Boehm, and Steve redid the joint to fit
> the different socket size and also retuned it. The quality of Steve's work
> is world class.
>
> You're not in the least foolish, just uninformed in this instance, and we
> can fix that!
>
> Best, Keith
>
> -----Original Message-----
> From: Finn Jespersen [mailto:fj4800@-----.dk]
> Sent: 14 August 2011 13:25
> To: klarinet@-----.com
> Subject: Re: [kl] Mozart quintet repeat
>
>
> 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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