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Klarinet Archive - Posting 000334.txt from 2000/07

From: Dan Leeson <leeson0@-----.net>
Subj: Re: [kl] klarinet Digest 7 Jul 2000 08:15:00 -0000 Issue 2384
Date: Fri, 7 Jul 2000 17:56:43 -0400

Keith, there is no single date where the practice of playing senza repliche
began but the entire question of how we play minuets and trios today changes
about every 50 years or so. I played the clarinetet quintet many years ago with
a man who played with Brahms as a very young player and he said that they never
played any repeats in minuets and trios, not even the ones marked.

Why this happened was, in my opinion, because the art of improvisation fell into
disfavour. The reason why all those repeats are present is to encourage
improvisation. But if one does not improvise, then the unaltered repetitions of
those sections becomes boring. So that was the first step in the changing of
performance practice with respect to the playing of minuets and trios.

Dan Leeson

Keith wrote:

> >From: Dan Leeson <leeson0@-----.net>
> Subject: Re: [kl] von Weber Concertos 1 & 2 -Reply
> Message-ID: <39649B4B.493CCE51@-----.net>
>
> Any work that begins without dynamic is automatically assumed to begin in
> forte.
>
> For minuets with trios, all da capos (except where he explicitly notates
> the
> manuscript "da capo senza repliche" are expected to be played with all
> repeats
> every t ime and it is during those additional repeats that improvisation is
> expected.
>
> <
>
> Interesting, Dan. When did the custom of always playing 'da capo senza
> replice' begin? Or is this a perversion of the idle? And does the rule
> 'always do da capo repeats unless marked senze replice' apply to Mozart as
> well as Weber?
>
> Will you be at ClarinetFest? If so, I'll buy you that beer you missed in
> Denver.
>
> Keith
>
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