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Klarinet Archive - Posting 000203.txt from 2004/12

From: "Fernando Silveira" <fernandounirio@-----.com>
Subj: Re: [kl] [clarinet] Martinu trills
Date: Mon, 13 Dec 2004 06:27:41 -0500

Hi Joseph.
For shure the editor has his own responsabilities on how he will publish the
music. BUT, the main thing to reach the question you are asking is see the
authograph.
I have some records of that piece, and I have been playing it for a quite
some time, and all the players do the same thing with both signs/simbols.
It is the same question that raises about Korsakow's "Capricio EspaƱol".

Best

Fernando Silveira
----- Original Message -----
From: "Joseph Limacher" <jlimacher@-----.net>
To: <clarinet@-----.org>
Sent: Monday, December 13, 2004 4:24 AM
Subject: [kl] [clarinet] Martinu trills

I wonder about the trill signs in the first movement of Martinu's
_Sonatina_. After measure 67 ("Tempo I") there are several separate trilled
16th notes. Two different types of trill sign are used: the wavy line and
the letters "tr". I have read that the wavy line is often used to indicate
a single move from the main note to the upper neighbor and back and that the
"tr" sign usually indicates multiple iterations between the main note and
the upper neighbor.

I notice that in measure 85 of the third movement, a wavy line is used for
one trilled note in the midst of several trilled notes bearing the "tr"
sign. There is a clearly evident purpose for doing so at this point.

Given that both signs are used in the first movement spot, I would assume
that some distinction was also intended here. However, the purpose of the
distinction is not clear to me. Furthermore, I doubt that I can reliably
play multiple iterations on a 16th note at the tempo I'm inclined to play
this section.

I wonder: Did Martinu really intend this distinction to be made in the
first movement? Did he intend a much slower tempo for the first movement
than is usually taken? Did he compose the work for a clarinetist with
phenomenally fast fingers? Could he have been sloppy notating his trills?
Could the publisher (Leduc) bear some responsibility?

Can any of you provide information or insight?

Joseph Limacher
Seattle, WA

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