Klarinet Archive - Posting 000079.txt from 2011/08

From: Finn Jespersen <fj4800@-----.dk>
Subj: Re: [kl] Mozart quintet repeat
Date: Sun, 14 Aug 2011 12:36:17 -0400


Thanks again, Keith! maybe I can afford such an extention in my next life. =
At the moment I am a poor "pensionist". I found the frankel score. Have you=
or anybody played it? Is it to difficult for "skilled amateurs"? I=B4ve al=
so found the charming quintett by Andreas Romberg. Biside Mozart it=B4s the=
best I know of that time. Is it playabel for amateurs?

b.w. Finn =

> From: keith.bowen@-----.com
> To: klarinet@-----.com
> Date: Sun, 14 Aug 2011 16:26:21 +0100
> Subject: Re: [kl] Mozart quintet repeat
> =

> Finn
> =

> There is no problem getting Steve to make you a basset extension - just t=
ell
> him the make and model of your clarinet. It will fit and work. I live in =
the
> UK and have had no problem getting instruments from him, also overhauls w=
hen
> due. Check his website, http://www.sfoxclarinets.com/
> =

> Basset clarinet is in A or Bb, basset horn is in F and has always had the
> 'extension' to low C.
> =

> June Emerson carries the Frankel publication, by Chester Music.
> http://www.juneemerson.co.uk/quickSearchResults.aspx?Str=3Dfrankel. They =
ship
> internationally too.
> =

> Best wishes, Keith
> =

> -----Original Message-----
> From: Finn Jespersen [mailto:fj4800@-----.dk] =

> Sent: 14 August 2011 15:37
> To: klarinet@-----.com
> 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 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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