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Klarinet Archive - Posting 000686.txt from 2004/08

From: "Bryan Crumpler" <>
Subj: [kl] RE: Debussy Rhapsodie
Date: Wed, 25 Aug 2004 16:21:24 -0400

Hi Sean et al,

I have 2 editions - one by Elkan Vogel and an original by Durand - and both
are printed as you described. I would agree, the Debussy has had it's share
of changes and edits and morphings, and I was even scrutinized once in a
competition requiring the Debussy for having played a Cb both in that
measure AND 2 after 7 - among other things that vary by edition. Interesting
to see someone else has discovered & acknowledges this "difference". I've
always thought it was just common mistake turned common practice to play
those measures the same, and that it sounds wrong or odd to play the Cb in
measure 18 most likely stems from being acclaimated to it sounding the same
as in measure 14. Since it was originally a competition solo, perhaps that
was an element they expected participants to trip up on, and people just
never "got it". I'd be interested too if anyone has done any in depth
investigation on the correctness of the part.


Date: Mon, 23 Aug 2004 16:03:12 -0700
From: Sean Osborn <>
Subject: Debussy Rhapsodie
Message-Id: <>

Dear list,

I am preparing the Debussy once again for some recitals this fall, and I
noticed something that I never noticed before in my 20+ years of performing
it. We're all familiar with several discrepencies and copying errors, but
the one I just noticed, I've never heard anyone discuss before.

14 bars after 6, and 18 after 6 do not match, but to my recollection, they
are always played the same .... Playing C-flat in
that measure just doesn't sound right to me, and I can't recall anyone
playing it that way.

I'm sure many people on this list have researched this mistake (if it is
one) in the past and can offer some insights into the correct pitch to play.

As for the 5th bar after 12 - I won't even go there! haha.


Sean Osborn


Date: Mon, 23 Aug 2004 20:32:06 -0400
From: "Lelia Loban" <>
Subject: [kl] Period Performance in Wagner?
Message-ID: <>

I wrote,
>(Yipes, I hope Shadow Cat didn't read that!)
>Kevin (my violin-playing husband) says that
>modern and period gut strings have always
>been made of sheep gut, not cat gut. According
>to our friend the violin repairman, nobody can
>quite figure out where that cat gut myth got
>started, though it's been following fiddlers
>around for more than two hundred years!

Joseph D. Vaccarino wrote,
>>The answer to that interesting question can be
>>found on the following web site.
>>You will have to "Enter" the site and navigate to the
>>"Our History" link.

Thanks for the link! That's a much better story than the other
explanations I've seen. It's even weird enough to make sense, in the
historic context. (If I'd been making violin strings back in the day, I
don't think I'd have mentioned cats at all, since calling to mind any
association with the Dark Side might have reminded those of extremely
righteous zeal that the Devil plays the fiddle.) I passed the link along
to my husband.

Lelia Loban
More trees, less Bush: Kerry and Edwards in 2004!


Date: Mon, 23 Aug 2004 15:30:05 -0400
From: "Shadow Cat" <>
Subject: [kl] Period Performance in Wagner?
Message-ID: <13x666=mousepiece9>

I'm making my stupid pet human type this.

Mark Charette wrote,
>>>Tell Shadow Cat you'll start playing shamisen
>>>next -- (we know what kind of skin the
>>>high-quality shamisens use)

No, we don't, and I'm censoring that little item out of her e-mail, right
hissing now!

Shadow Cat


Date: Mon, 23 Aug 2004 17:53:39 -0700
From: Gary Van Cott <>
Subject: John Bruce Yeh
Message-Id: <>

How does John Bruce Yeh pronounce his last name?

I have always assumed in was like yay (the cheer) and I just heard a radio
announcer say that. Is that correct?



+ Gary Van Cott - Van Cott Information Services, Inc.
+ Woodwind and Brass: Books, Music, CDs and More
+ --> VISA MasterCard Discover AmExp <--
+ P.O. Box 9569, Las Vegas, NV 89191, USA
+ Phone: 702-438-2102 Fax: 801-650-1719 Email:


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