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Klarinet Archive - Posting 000836.txt from 2000/07

From: Andrea Bergamin <a.bergamin@-----.it>
Subj: Re: [kl] Weber Concerto derived from Mozart?
Date: Mon, 24 Jul 2000 06:45:44 -0400

Roger... your italian is excellent!

I agree... it was a flop!

I'd like to thank the software developer who has spent nights and nights on
the computer for this translator...

As my father says when he's angry with me...
"Why didn't I go the cinema that night?"

---

I remember a message posted by Stephen Bennet in italian on CLAIR.

The phrase to translate was "You are so right..." and he translated it as
"Voi siete cos=EC di destra" that in italy means "you are so right-wing"
(politically).
It is not a compliment in Italy...

The right translation is "avete ragione".

> Da: Roger Shilcock <roger.shilcock@-----.uk>
> Risposta: klarinet@-----.org
> Data: Mon, 24 Jul 2000 09:52:21 +0100 (BST)
> A: klarinet@-----.org
> Oggetto: Re: [kl] Weber Concerto derived from Mozart?
>=20
>=20
> Traduttore traditore....
> La traduzione @-----.
>=20
> To be more specific, it's good English badly arranged.
> Roger S.
>=20
>=20
> On Sun, 23 Jul 2000, Andrea Bergamin wrote:
>=20
>> Date: Sun, 23 Jul 2000 02:04:56 +0200
>> From: Andrea Bergamin <a.bergamin@-----.it>
>> Reply-To: klarinet@-----.org
>> To: klarinet@-----.org
>> Subject: Re: [kl] Weber Concerto derived from Mozart?
>>=20
>> Andrea is a male name in Italy. Etymologically speaking it means somethi=
ng
>> like "macho man" so... it isn't cut out for a girl!
>> So... I'm male.
>>=20
>>=20
>> EXPERIMENT... I'll write the text in Italian with an automatic translati=
on
>> (I hope it will work!). It is so difficult for me to write correctly in
>> English and I hope someone could understand me in Italian. ...
>> Italian is a nice language... I hope you will enjoy it (as Mozart did!!!=
).
>>=20
>>> Come compositore, prima ancora che da clarinettista ho fatto qualche
>>> osservazione tecnica sulla scrittura della parte del clarinetto nei due
>>> concerti. Proprio dall'osservazione delle due parti =E8 evidente come Moz=
art
>>> utilizzi lo strumento ancora nel modo tipico dei primi concerti per ese=
mpio
>>> degli Stamitz. La cellula tematica viene spesso riproposta nei vari reg=
istri
>>> e
>>> da questo si deduce che certamente all'epoca (e quindi in Stadler) il s=
uono
>>> del clarinetto non era omogeneo come @-----.
>>>=20
>>> Poi... lo strumento di Stadler aveva una meccanica molto meno sviluppat=
a e
>>> questo impediva, per esempio, di ottenere scale cromatiche in rapidit=E0 =
e
>>> passaggi veloci in tonalit@-----. In questo senso la
>>> scrittura
>>> @-----.
>>>=20
>>> ---
>>>=20
>>> Io non volevo esprimere un giudizio su Mozart o su Weber. Semplicemente=
il
>>> 622
>>> nasce con esigenze diverse rispetto ai due concerti di Weber.
>>> Altri concerti di Mozart (quelli per violino o per flauto) sono certame=
nte
>>> pi=F9
>>> "rilassati" e risulta pi=F9 chiara la finalit=E0, principalmente di "musica=
di
>>> consumo". Questo non @-----.
>>>=20
>>> In Weber la platealit=E0 =E8 un elemento determinante perch=E9 =E8 nello stile
>>> dell'epoca. Weber =E8 molto meno contenuto di Mozart (del Mozart del 622)=
e
>>> usa
>>> certi effetti, presi dall'opera, che Mozart non usa.
>>>=20
>>> Nessun giudizio qualitativo...solo delle considerazioni stilistiche,
>>> oggettive
>>> questa volta.
>>=20
>> Like composer, before still that from clarinetist I have made some techn=
ical
>> observation on the writing of the part of the clarinet in the two concer=
ts.
>> Just from the observation of the two parts it is obvious as Mozart still
>> uses the instrument in the typical way of the first concerts as an examp=
le
>> of the Stamitz. The thematic cell often comes in several registries and
>> from this, the sound of the clarinet is deduced sure that to the age (an=
d
>> therefore in Stadler) was not homogenous as it is currently. Then... th=
e
>> instrument of Stadler had one mechanical much less developed and this
>> prevented, as an example, to obtain chromatic scales in rapidity and fas=
t
>> passages in far tonalities much from I GIVE. In so far as the writing i=
s
>> less modern.---I did not want to express a judgment on Mozart or Weber.
>> Simply the622 are born with various requirements regarding the two conce=
rts
>> of Weber. Other concerts of Mozart (those for violin or flute) suremore=
"
>> are relaxed " and turn out clearer the purpose, mainly of "consumption m=
usic
>> ". This is not therefore clear in the 622.In Weber the flauntiness is a
>> determining element because it is in the style of the age. Weber much l=
ess
>> is contained than Mozart (of the Mozart of the 622) and uses sure effect=
s,
>> taken from the work, than Mozart she does not use. No qualitative
>> judgment... only of the stylistic, objective considerations this time.
>>=20
>>=20
>>=20
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>>=20
>>=20
>=20
>=20
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