Klarinet Archive - Posting 000077.txt from 2011/08

From: Finn Jespersen <fj4800@-----.dk>
Subj: Re: [kl] Mozart quintet repeat
Date: Sun, 14 Aug 2011 11:34:18 -0400


Sorry Dan! I ment what you say!" I now realise the difference between basse=
t horn and basset clarinet. I=B4ve always wondered. Finn

> From: dnleeson@-----.net
> To: klarinet@-----.com
> Date: Sun, 14 Aug 2011 07:58:25 -0700
> Subject: Re: [kl] Mozart quintet repeat
> =

> 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, b=
ut =

> 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 writ=
ten
> > 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 jo=
int
> > of your A clarinet. Stephen Fox is IMO the best person to go to for thi=
s. =

> > I
> > have one, one which I performed the Quintet on the Leblanc Concerto I h=
ad
> > 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 f=
it
> > the different socket size and also retuned it. The quality of Steve's w=
ork
> > 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 thi=
s 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 recordi=
ngs
> > 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 lo=
cal
> > > 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 reca=
ll,
> > 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 original=
ly
> > > posed (though as usual there have e been interesting digressions), wh=
ich
> > 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 Geor=
ge
> > > 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 especiall=
y =

> > > 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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