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Klarinet Archive - Posting 000121.txt from 1994/09

From: 00smgeidel@-----.EDU
Subj: Re: Kegelstatt -- The Big Debate
Date: Fri, 16 Sep 1994 11:26:10 -0400

Friends,

More on the Mozart Trio!

Jay Winick writes:

>>The current edition I am using is the Barenriter edition, it has the
>>original semitone different notes in the trio section for clarinet as
>>ossia.

One of the most fascinating aspects of researching the Mozart Trio is that there
are two "authentic" editions available: the Henle and the Barenreiter. How
interesting that these two authentic editions--both based on the
autograph--actually differ with regard to NOTES! One would think that notes are
notes, and in preparing an edition based on the autograph, each edition would
simply have Mozart's notes in them...not the case here!

To cut to the quick, choose the Barenreiter. Here's the story...

Please see measures 55-57 in the first movement, which is a statement of the
second theme. Henle includes a turn; NOT a written out "turn" with specifically
notated rhythm as we see throughout the movement, but an actual turn intended as
an ornament! And, in contrast, Barenreiter omits this turn. How could this be?
Both editions are based on Mozart's autograph...

The reason is as follows: the turn is in fact included in the autograph,
as a turn--not notated in specific
rhythm, but as an ornament. However, having examined the autograph, it appears
that Mozart wrote in the turn, and then ATTEMPTED TO BLOT IT OUT. Only the
initial E-flat clearly remains...the following three notes are visible, but
barely so. Remember, Mozart had no easy recourse if he wished to make a change
in his score...he wrote in ink, (he had no White-Out!) and he could not erase.
To make a change, he had to immediately blot the ink. If he did not attempt the
blot quickly enough, an image remained. In my opinion, Mozart wrote the turn,
then changed his mind and tried to blot it out...again, we see the image of the
opening E-flat clearly, then a very faded image of the D-C-D. Further evidence
of Mozart's wish to remove these notes arises from the fact that he does not
beam them to the previous dotted quarter note, as he does in every other case in
the movement.

I believe that Barenreiter is therefore correct in omitting this turn--simply
put, Mozart wrote it and, in my opinion, tried to remove it. However, the ink
had dried a bit to much, especially on the first E-flat, to get it all off the
page. Henle includes this turn...perhaps from the standpoint of the strictest
transcription standards, yes, it does appear--you can see it. But, it really
does seem Mozart did his best to remove it. My advice--don't play it.

Stan Geidel

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Dr. Stanley M. Geidel | Personal replies to:
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Ball State University | Internet: 00smgeidel@-----.edu
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