Klarinet Archive - Posting 000106.txt from 2011/08

From: Finn Jespersen <fj4800@-----.dk>
Subj: Re: [kl] Frankel Clarinet Quintet
Date: Tue, 16 Aug 2011 22:46:57 -0400


Thanks Floyd! I have allready one with Thea King and the Britten String Qua=
rtet (Hyperion), and it=B4s good! Finn

> From: f.williams@-----.au
> To: klarinet@-----.com
> Date: Wed, 17 Aug 2011 09:30:27 +1000
> Subject: Re: [kl] Frankel Clarinet Quintet
> =

> Hi Finn,
> There is a recording of the Frankel quintet by Paul Dean and the Australi=
an
> String Quartet on cpo.
> The number is:
> cpo 999 384-2
> =

> Enjoy,
> Floyd
> =

> =

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

> Sent: Monday, 15 August 2011 2:36 AM
> To: klarinet@-----.com
> Subject: Re: [kl] Mozart quintet repeat
> =

> =

> 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 y=
ou
> or anybody played it? Is it to difficult for "skilled amateurs"? I=B4ve a=
lso
> 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 tell 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 when 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. The=
y =

> > 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 th=
ink =

> > this prolonging is on the market here in Scandinavia - I=B4ve never see=
n =

> > it, but will keep my eyes open. I think Stephen Fox is to wide from her=
e.
> > =

> > 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 everythi=
ng.
> > 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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